Rod Tame’s launch night for his book ‘Strange World, Odd Person’ (Flapjack Press) is a superb example of the power of simple performance poetry to take your breath away. Within Manchester City Library on a sunny Thursday night, Tame and his two supporting cohorts from the rudely thriving Manchester poetry scene, Sarah Miller and Steph Pike, illustrate the breadth of the scene in terms of their differing subject matter but also the scene’s passion in their deeply personal poems.

Steph Pike’s poems on the passing of Thatcher and the ridiculous assertion by Ian Duncan Smith (£53, you know the rest) are not merely political in terms of addressing specific figures, they are highly personal reactions, attacking Conservatism’s legacy of ills whilst celebrating its opposite, an inclusive culture of feeling, emotion, community. A lot has been written, said, drawn and performed recently of the anniversary of the Manchester Suffragettes and their vandalism of Manchester Gallery artworks – Pike’s poems have the same passion and fervour, the same imagination, the same urge to change things not for the sake of social or emotional anarchy, but to change things for the better.

Sarah Miller’s poems by contrast involve the honesty of memory, of love and lust, of admitting to dirty conversations with dirty boys in even dirtier phone boxes. She evokes the ghost-story myth of Lilygreen, finding in this haunted (and haunting) metaphor a possible mother, daughter, lover. The black-clad Miller with her enticing and voluptuous enunciations evokes warm laughter as much as she does gasps of sensual pleasure – her poems abound with references to blood, lips and “sticky fingers”.

The performance style of Rod Tame may be theatrical but is by no means superficial – Tame’s flourishes and the fruitiness, his love of filthy puns (Manchester’s Gay Village described as “a land of Hope and Glory holes”) and expansive circumlocution are the verbal equivalent to his physical performance, an unshy repertoire of arm-swinging, hand-waving and toin-cossing (“Two sides of a coin/ flipped by self-confidence trickster/ who hopes to fool/ beer-thirsty crowd and himself/ that he can do this thing”). But what all of these flourishes emphasise is the tightrope of Tame’s imagination – a shy, bullied, closeted geek from conservative England who has transformed himself, through poetry and queer-friendly scenes, into the creative person he wanted to be, and feared he could not be. His talk may be fancy, but his fears are real.

As is his love. Although his poems describe the pain of love, of falling emotionally for a fuck-buddy, of not fitting in to gay culture, his “quiet poems” (his words) are also his loudest, the love between his “sainted grandparents” providing a template for true love in its simplest and warmest forms – the audience melts as Tame recites, of his jigsaw-loving nan, “She will start the dinner soon/ but first takes a sip/ and inserts the last piece of blue/ Savours the click/ of a perfect fit”).

Rod Tame is indeed an odd person in a strange world, a world his poems navigate with optimism, love and laughter.

Strange World, Odd Person is available now from Flapjack Press. David MacGowan has his own blog over at The Battered Billycock.

This is a demanding part for any actress. Maintaining a monologue of this length exploring the childlike wonder of the dying Spoonface whilst containing all the tics and quirks of her autism must be a frightening prospect for any actress. Fortunately Rebecca Fenwick, playing Spoonface, is more than up to the task.

Fenwick puts her all into it to give an astonishing and touching portrayal. A complex, multi-layered performance, Spoonface is fractured by existence, possibly even failed by it. Fenwick plays this with a fervent intensity that is immensely watchable – and makes you forget you are watching an actress playing a part. Intensely personal, Fenwick puts in an immaculate performance that should take her far.

This is a play that will evolve with every performance. The audience that I watched it with were not entirely sure how to take the humour evident in the script. As one audience member put it, it seems churlish to laugh at the actions of a girl dying of cancer. But Fenwick’s performance is such that she seems to be seeking support or contact, possibly even validation (on behalf of Spoonface) from the audience. Her reaching out to the audience only serves to strengthen the emotional bond between you and character.

Some of this comes from Lee Hall’s writing, writing that isn’t mawkish or overly sentimental even. Spoonface’s exploration of a world she is about to leave is overwhelmed by a childlike sense of wonder as the pieces of her puzzle begin to slot together. Backed by Maria Callas’ haunting melodies, it manages to engage with you in such a simple and moving way.

Director Hugo Chandor has kept things interesting with the use of a minimal but versatile set. Indeed, the set up where the main stage is separated from your view as you enter almost gives some dignity to the sleeping Spoonface. A dignity that then you interact with as Fenwick directly addresses the audience. There a lot of lovely moments that Chandor and Fenwick have worked hard with and I’m not going to spoil here – it’s worth keeping your eyes on what’s she’s doing throughout the performance as she inhabits Spoonface’s character.

This isn’t the first time that Freerange have performed Spoonface Steinberg, but it’s easy to see why it is one of their most talked about performances. Indeed, it is likely to become one of the must-see performances of this summer. A tour-de-force of emotion in a contained and dignified way that is sure to leave you thinking long after the lights fade. Spoonface certainly proves that as Mrs. Spud puts it: “To be different is to be who you are”.

The Fiction Stroker gives Spoonface Steinberg four strokes out of five:

Star Trek Into Darkness is the much awaited second installment of JJ Abrams ambitious reimagining of the Star Trek universe. Pitting baddie John Harrison against the Enterprise crew, it is setting its phasers to stun as one of this summer’s blockbusters.

2009′s Star Trek was an impressive achievement. Recasting iconic characters and diverting them into a parallel universe could have been an astonishing kick to the teeth for devoted Star Trek fans. Instead it was done in a sympathetic way that reignited a dying franchise.

For its second outing, things are more muddled. This is clearly a film designed for the Trekkies with references littered everywhere. Most of these are irrelevant to your enjoyment of the film but Into Darkness’s key problem is an over-reliance on kisses to the past.

The chemistry that the new Enterprise crew had is in evidence during this second outing. Right from Kirk and McCoy’s chase at the beginning through to its heart-stopping conclusion, the sense of this actually being a crew and team is abundant. Most importantly, it feels like the cast are having tremendous fun. Certainly they all get more to do with some clever foreboding.

When Chekov dons a red shirt, you wonder if his time is up. Uhura gets a tremendous chance to prove herself as more than a romantic interest and Sulu ends up taking the Captain’s chair albeit briefly. There are also some witty lines, and the dry humour that characterised the trio of Kirk, Spock and McCoy in the original Star Trek firmly entrenches itself here. For instance when Kirk learns that Uhura and Spock are fighting he wryly comments: “You’re fighting with him? What is that even like?”

Of the guest cast, Benedict ‘Sherlock’ Cumberbatch is an enigma as the mysterious John Harrison, and indeed is wasted until his motives become more apparent. It is at this point that his malevolence seeps through. A compelling villain, he suffers from being drawn in sketchy lines. On the other side, Alice Eve is merely eye candy as the criminally underused Carol Marcus whilst Noel Clarke is barely allowed to utter a single word in his effectively, cameo role.

SPOILERS AHEAD (highlight to read):

It’s just unfortunate then that this is a retread of tired old ground first trod in The Wrath of Khan. And it’s not a particularly good retread at that. Cumberbatch comes into his own as Khan proving to have the gravitas to be a big screen baddie and is genuinely a highlight of the movie. But his characterisation is lacking. He degenerates into a bog standard villain without much motivation. It feels like the responsibility is on you to fully understand the backstory for Khan.

Recreating the iconic scene where Spock died, but twisting it around so it is Kirk that perishes is a brave step – if this were to be followed through on. It would have been a ballsy step to kill off the Captain and possibly a shot up the arm the franchise needs – although it would have been a shame to lose Chris Pine’s portrayal.

Leonard Nimoy’s guest cameo initially brings a cheer until you realise the effective send-off he was given in the last film. Additionally, if Spock can just call on his elder self for help at any given point, how can Quinto’s version become his own person?

The key to this movie is the development of Kirk – it all hinges on his Captaincy. Removed from command of the Enterprise and demoted to First Officer, he is talked at, rather than given the chance to act. Fortunately, throughout the film he is granted the chance to act honourably leading to his humiliation at the hands of Admiral Marcus and his eventual death. The biggest and perhaps most enjoyable character arc of all is as you see Kirk move from irrational womaniser to Starfleet Captain.

SPOILERS END

Overall, a bittersweet experience that lives or dies on your tolerance for over-reliance on the past. An action blockbuster yes, but with a wafer-thin plot that doesn’t stand up to much scrutiny. This Enterprise crew has gelled and works well together and whilst it advances the narrative for the next movie, hopefully it has also eliminated the need for such blatant kisses to the past. Hopefully Star Trek 3 will enable this crew to stand on their own feet and finally explore strange new worlds..

The Fiction Stroker gives Star Trek Into Darkness three strokes out of five:

Star Trek Into Darkness is on general release now.

The musicians of Denifari welcome you to the stage of the Lowry Studio with their infectious enthusiasm and uplifting sound. The beat of drums backed with the melodic flute and the lively dancing act as a living, breathing and authentic backdrop to the story that follows.

Meeting in a bar, Rhodesian Stuart (Gerry McLaughlin) meets writer Joe (Liam Tims) and unfolds his remarkable life story. From growing up with his black childhood friend Chinua (Chris Jack) through to his fateful encounter where he could have executed Mugabe, it is an astonishing tale – and true story.

But is it a story? This key dichotomy of what is truth and good vs. evil is what frames a unique encounter between a displaced Rhodesian and tyrannical President Robert Mugabe. Writer and Director Justin MacGregor acknowledges the scepticism that we all might have about the truth of this story and weaves it into a narrative that whilst at times is remarkably engaging, is also limited by its choice of style.

The documentary style that Come As You Arts are known for is evident in the many facts and figures to back up the drama. But at times it can be difficult to process the horror these extraordinary people find themselves in. At two hours long without an interval, it can be wearing at times, especially when it feels like you are being taken out of the drama and being spoken to, rather than at. Whilst there are notable parallels with Heart of Darkness that power corrupts, the subtlety of such parallels are lost – the bartender is called ‘Joe Conrad’ for example.

This said, it is a wholly unique experience, and something of the like that I haven’t seen in some time. The colourful and cheerful drummers demonstrate the spirit of human resilience more so than the plot of the play, and provide a credence and authenticity that is sometimes lacking from the on-stage action.

Mugabeland! desperately wants to be a tale of shades of grey, but at times is still all black and white. Jane Allighan and Stephanie Hutchinson appear as Stuart and Chinua’s parents in a particularly notable scene that does introduce shades of grey as you realise that despite all their supposed ‘differences’ – they are actually remarkably similar.

McLaughlin dominates the performance as Stuart and works hard to bring to life with some lengthy speeches. His relationship with Debs (Jane Purcell) inspires a whole new kind of revolution within her which both actors work hard to convey.

This doesn’t mean I disliked Mugabeland! – far from it. It is an interesting tale about a situation I am barely familiar with. It does challenge you to judge where Mugabe’s actions stand on the basis of the information presented to you. And the inclusion of the Djembe drumming and dancing brings an innovative voice to proceedings. It just falters in presenting too much fact and not enough feeling to make you wholly appreciative of events. For many though, the emotionally concluding moments may override any reservations you might have.

The Fiction Stroker gives Mugabeland! three strokes out of five:

Mugabeland! is on in The Lowry studio until Saturday 18 May.

Norris & Parker

Regular readers of the blog will know that I nearly died of laughter during Norris & Parker’s last show. This latest show is previewing their Edinburgh Fringe content, and its safe to say that Edinburgh is set for a treat.

The tale of the two young struggling actress’s lives is interspersed with songs, sketches and larger-than-life characters – and plugs for their new mobile ringtone. Particular highlights include Irish farmer Paddy, over-enthusiastic theatre leaders Sally and Claire (complete with radioactive coloured shellsuits) and long-suffering Anne with her overbearing husband Giles.

Both comediennes are skilled at comic timing and characterisation. Neither takes themselves too seriously leading for some hilarious self-deprecating moments. Both are also very engaging with the audience, frequently breaking the fourth wall.

As a preview show, not everything works, one or two of the sketches fell a little flat, but this was more than made up for by moments like the Tydlesley Widows Choir taking to the stage and butchering your favourite tunes. Special note must also go to the voiceovers that bridge sketches.

Norris & Parker also prove that nothing manages to phase them as one audience member was unwell at the end of their set proving that these two gifted ladies have the professionalism to match their creativity. Watson & Oliver should watch out – there are some new girls in town!

Sketchy Theatre

Sketchy Theatre’s irreverent set bolts out of the starting gate with a blistering exchange between two TV presenters whose thinly veiled insults to each other raise a good response from the audience. From there, things get more and more twisted as we travel down a very surreal path.

The trio of Ilaria Passeri, Ciaran Mullins and Dave Wake take us on a journey from the worlds most polite mugger through to the sales pitch from hell and ending with a side-splittingly funny wedding from a vicar with Tourette’s. I thought I was going to cause the roof of the Kings Arms to collapse with the ferocity of my laughter!

Many of their gags rely on innuendo or farce, and as the situations get increasingly ridiculous, the laughter from the audience increases. Some gags work better than others, one exchange between a market seller flogging cards rumbled on too long without incident. This said, the trio have a clear rapport with each other.

Sketchy Theatre are slightly variable, leaving you bemused one moment to hysterically crying with laughter the next as belies the nature of their act. Interspersed with musical interludes (including bizarrely, the Murder, She Wrote theme), the presentation is slick and polished. They are also aware of the limitations of the format they’re working with, and on occasion, break this to comic effect. With a bit of tweaking, they could be real contenders to go far.

The Fiction Stroker gives the Norris & Parker/Sketchy Theatre double-bill four strokes out of five:

Tickets for tonight’s final performance at The Kings Arms available from here.

Iconic characters such as Luke Skywalker, Princess Leia, robots R2-D2 and C3PO are all in evidence as is their nemesis Darth Vader. A number of striking pieces are on display ranging from pulp-style movie posters to full-scale canvas pieces.

The dates the exhibition opens and closes are of special relevance to Star Wars fans, May 4 being International Star Wars day and May 25 marking the 30th anniversary of the third movie, Return of the Jedi.

Stormtroopers and bounty hunter Boba Fett were in evidence at the launch as was special guest Marc Silk (voice of Aks Moe in The Phantom Menace).

Robert Marks, Gallery Manager comments: “We are the only art gallery in the UK with this collection so we envisage this event being hugely popular.”

A gallery of images is available below. The exhibition runs from today until May 25 at  Generation Gallery, New York Street, Manchester.

Theatre: 

A Dolls House
1 May – 1 June, Royal Exchange

Nora, a young wife and mother is married to Torvald, a recently promoted bank manager. Life seems content and settled until their marriage is threatened when a terrible secret from Nora’s past comes back to haunt her and she begins to question their world.

Henrik Ibsen’s ground-breaking play is widely regarded as a landmark of the modern stage. A story of domestic revolution, female empowerment and the journey towards self-liberation, it queries aspirations, success and what it means to raise a happy family. The play is still as charged, intense and provocative as it was 130 years ago. Starring Cush Jumbo, this is poised to be an early summer highlight of the Royal Exchange’s 2013 season.

First Break Festival
14-18 May, Oldham Coliseum

You know that we’re big fans of new talent here at The Fiction Stroker and where better than to see this in evidence than Oldham Coliseum’s First Break festival. Featuring the best of new and emerging talent, the festival is the place this May for script-in-hand performances, new plays and masterclasses from writers with connections to the North. It will also include Organised Chaos’ latest stop on their tour with the 5 stroke A Lot of It About on 14 May!

See the full guide of what’s on here.

Spoonface Steinberg
17/18 May, The Black Lion, Salford

Award-winning Freerange Theatre Company return to Manchester after their 5-stroke success with Einstein’s Daughter last year. Their new production adapts Lee (Billy Elliott) Hall’s Radio 4 play Spoonface Steinberg.

A remarkable monologue, it tells the story of 8-year old Spoonface, an autistic girl dying of cancer, as she investigates the world around her in her own honest and uplifting way.

This production is supporting and raising funds for Children with Cancer UK.

Posh Tramps and Papooses
19 May, Chorlton Irish Centre

Posh Tramps and Papooses is the latest play from Manchester’s celebrated MaD Theatre Company (Gin and Chronic Arthritis). Following the Longbottom  family from Harpurhey, (a place recently made famous through the BBC3 documentary ‘People Like Us’), head of the family is Ma who has recently divorced her ‘wife’ in Hapurhey’s first ever same sex civil split, however, undeterred, and in an attempt to put that behind her Ma is now looking for a fella on the internet.  She meets Hector the Metro Link Inspector on Uniform Dating.com who promises her and her dysfunctional family a holiday of a lifetime …… to Chorlton … on the tram!

Sure to be a hilarious and dysfunction culture clash, Posh Tramps and Papooses is not to be missed! For more details visit MaD’s website.

South
29-31 May, The Lowry

Shred Productions new play from writer Ian Winterton (Sherica, 2012 Manchester Theatre Award Winner) is set in Antarctica, 1962, when ‘going south’ meant 12 months cut off from the outside world.

Discovering upon arrival that his fiancée back home is pregnant, biologist Daniel puts ambition above his religious beliefs and stays. Seeking solace in his work, he uncovers disturbing evidence of the environmental disaster mankind may yet bring about. Teetering on the edge of depression, Daniel’s life is forever changed by his friendship with young dog-sledger, Jim. And then news reaches them of the Cuban Missile Crisis…

Exhibitions and Events:

You Are My Only Hope: A Star Wars Art Event
4-25 May, Generation Gallery, Manchester

With such an appropriate day to launch (think about it..!) Generation Gallery is showcasing the official Star Wars fine art collection – and celebrating the birthday of George Lucas. With exclusive unveiling of new pieces, this is *the* place for Star Wars fans this May!

Look out for a preview of the exhibition on The Fiction Stroker very soon!

Northern Quarter Takeover
5 May, Various Venues

There ain’t no party like a NQ party, and after the success of the Jubilee street party last year, the Northern Quarter throws open its doors once again taking over the streets. Thomas, Edge and High Street will all be joining in the fun with food, drink, DJ’s, dog shows, print fair’s and much more.

See the full lineup of participating venues over here.

Chorlton Arts Festival
17 – 26 May, Various Venues

Chorlton is preparing for it’s 13th Arts Festival and this year over 20,000 are expected to attend a host of music, dance, visual arts, comedy and performance events over 10 days. The highlight of this will be the Chorlton Weekender over the Bank Holiday weekend. With zine fairs, history walks, poetry and music from Little Sparrow, Toy and the Jeffery Lewis and Peter Stampfel Band amongst others, there is something for everyone!

Check out the full programme of events here.

That’s all for this month, but do drop us a line if you have something you would like featuring in a future edition of Stroker’s Picks!

Karl Seth’s Peter is parachuted into a holiday that spirals out of his control. A cross between Victor Meldrew and Duty Free’s David Pearce, his desperation to concentrate on his reading and roving eye get him into no end of trouble as he tackles gangsters, amorous advances and kidnappers in this comic caper.

Seth is helplessly captivating and hits the comic highlights especially with some of the physical comedy of the second half. Natalie Husdan’s Carol is utterly outrageous as she vamps up some of the best lines whilst Nicole Gaskell’s Saskia is ruthlessly flirty providing much hilarity with her constant mispronunciation Abigail Hibbert provides solid support as waitress Christina, coming into her own in the second half whilst Amir Rahimzadeh is coolly menacing as ‘Det. Insp.’ Wilson.

Less successful is the second half. The long build up to the gags is worth it – but only just. It all goes a bit Confessions of.. in the second half to moderate success. Director David Samuels keeps the tone light and comedic and for the large part is successful. It is only this uneven second half that threatens to curb the pleasant tone. The sudden delve into characterisation is not in keeping with the slapstick events of the first half and jars leaving you itching to get back to the comedy.

How to Relax in Andalucía is a charming sun-drenched throwback to a more gentle time of comedy. Less brash than Benidorm, How to Relax in Andalucía is a worthwhile and faithful venture to capture the slapstick yarns of times gone past. Fans of classic British comedy would be advised for a check in to witness this Costa del Comedy.

The Fiction Stroker gives How to Relax in Andalucía three strokes out of five:

How to Relax in Andalucía is on tour from Friday 3 May stopping at The Lowther Pavilion in Lytham St. Annes on 3 May, Square Chapel in Halifax on 16 May, Barnsley Civic on 17 May, The Capitol Theatre MMU on 27 June, Manchester’s The Fuse on 28 June and Liverpool’s Unity Theatre on 2 July.

Broken

Broken flits between the endearing May and the mental breakdown she is having against the treatment administered to May by a therapist who is battling with her own demons.

Plays that explore the relationship between life, death and mental illness are nothing new – the difference should be in the execution and unfortunately Broken needs fixing to address this. Strangely lacking in emotional impact, Broken is stilted by a clumsy execution that fails to draw the emotional depth the story requires to work.

It is difficult to sympathise with Una Love’s therapist. Despite her efforts, the dialogue sadly feels lifted from Holby City and renders her character terribly dry. Emma Cliff’s Carla is instantly likeable and engaging whilst Karl Greenwood’s Tom is stealthy creepy as he controls May.

Central to the play is Hannah Keeley’s commanding performance as May. Endearing and bouncy, her portrayal is at its strongest when the story delves into memories of her trauma and she threatens to drown within these dark memories. A scene between her and Greenwood on a waltzer is particularly effective.

Sadly, overall though, Broken is less than the sum of its parts. A therapy scene towards the conclusion ought to have been more dark and disturbing than it was, and it fails to escape the clichés that have defined dozens of other plays of its ilk.

The Fiction Stroker gives Broken three strokes out of five:

A Lot of It About

The effects of sex aversion therapy in the 60’s and 70’s are explored in this devastatingly simple play as middle-aged Ben looks back on the wreckage of his relationship with his wife Ann with the help of his younger self..

Sometimes the simplest ideas are the best, and this is proved by the witty script. Ben (in this performance due to illness played by Daniel Thackeray) is a withdrawn shadow of his younger self (Michael Whittaker). In beautiful symmetry, both characters are dressed the same. Frequently interacting with each other, both encapsulate a sadness and anger we all have buried within us. But when combined with the regret of two lives ruined where his wife Ann is concerned, regret turns to disgust with some powerful effects. Thackeray is haunting with contained anger whilst Whittaker’s compellingly abrasive younger Ben wavers from wide boy to touching sensitivity with consummate ease.

Kate Mitchell captures the hope and lust of the young Ann, and brilliantly embodies the Keep Calm and Carry On attitude of the consultant during the sex aversion therapy scenes. Tracy Gabbitas is the older, more worn down Ann, but also infuriatingly snobbish as the Headmistress at Ben’s school. John Dayton’s Kev flits in and out of the narrative, as a reflection of Ben’s unhappy story. Sanjay Sutar rounds off the cast as Marek who meets both the younger and older Ben, the latter in a particularly touching scene.

Dealing with the duality of what it means to be ‘normal’ and ‘different’, in A Lot of It About writer Ned Hopkins has crafted a entertaining, but culturally relevant piece. Use of the device of a radio phone-in as discussion on the nature of homosexuality in the modern day is inspired.

The humour that sometimes permeates plays dealing with homosexuality as a topic can feel very forced, but here it flows naturally. Director Alex Shepley juggles this humour and drama and coaxes strong performances to produce an affecting story that builds towards a conclusion that for once is laden with hope. Thoroughly recommended.

The Fiction Stroker gives A Lot of It About five strokes out of five:

Organised Chaos double bill runs until Sat 27 April at The Lowry. From there it goes to Square Chapel in Halifax on 2 May, the Lantern Theatre in Liverpool on 10/11 May, the Oldham Coliseum on 14 May and the Pavilion Arts Centre in Buxton on 8 June.

For further information on the tour, please visit Organised Chaos’ website.

As an anthology series, it has much in common with 2000AD, though with the inclusion of articles and interviews, it is closer to Clint in style, if certainly not in the latter’s laddish tone. Indeed, one of Strip’s strengths is its timeless quality. The stories don’t patronise, nor prove too complex for younger and older readers alike with a mix of adventure, science-fiction and fantasy to engage everyone. With contributors who have worked on titles such as The Boys, Doctor Who Magazine, 2000AD and Marvel to name but a few, this is set to be an exciting addition to the monthly line-up.

Starting with a belting first instalment of King Cobra (who DC Thompson fans might remember from Hotspur), Strip clearly sets out its agenda in these opening pages. With visually arresting pages, Wamberto Nicomedes artwork is incredible, and rivals other comics for its integrity whilst complimenting John Freeman’s action-packed script.

Black Ops Extreme seems to be a remarkably popular strip based on its appearance in the Strip’s earlier test issues (The Black Ops stories being collected as a stand-alone volume for release shortly). The tales of an anti-terrorist team who are not as amenable as they appear have much in common with The A Team – even down to some of the meathead attitudes of some of the characters. It isn’t for me, but I can see the appeal for its legion of followers.

More to my liking are the mysteries hinted at in Operation Inferno and Warpaint. The former, a cross between Alex Rider and Spooks merges a Steampunk London with a teenage super-agent with some promising results; if far too short in this opening episode. Whilst Warpaint’s mysterious and breathless opening leaves you gasping for more.

Denizens set up its premise nicely, and looks like it will be a tale disturbingly just within reach of real-life as it progresses. This tale of a personal tragedy with far reaching consequences is perhaps one of the more original within the collection. John Freeman’s Crucible rounds out this issue with a medieval world not dissimilar to our own in one respect – unemployment is rife! With fabulous art from Smuzz (2000AD) it is a solid (if short) start.

The earlier test issues of Strip (exclusively available in comic shops) were a little patchy in places, as if it was finding its feet. A shrewd decision to test the waters before launching properly, this new volume of Strip bursts out of the gates in breathless measure maintaining a consistency, quality and appeal that many other comics would kill for. With strips planned for at least the next twelve months, buckle yourself in for a fun-packed ride.

Strip Magazine is available from most good newsagents, or online for iPads. A digital sampler is available here.