Lawless 2026: The Return of ‘A1/Deadline’ With Dave Elliott, Shaky Kane, And Kek-W
by Olly MacNamee
A1 and Deadline were both different indie comics that came out in the late 1980s/early ‘90s. But now, they are coming together under one cover, courtesy of Dave Elliot, the original editor of A1 and later Deadline — a title that was designed to create no associations or preconceived ideas in readers’ heads whatsoever. Allowing for a good deal of experimentation on the comic strips and mixing of genres, and a home for the likes of Brian Bolland’s The Actress & The Bishop strips and Alan Moore and Steve Parkhouse’s Bo Jeffries Saga. “You could do anything you want,” as Elliott says.
When Elliott joined Deadline, he was able to get it back on track, schedule-wise, as well as get big names featured, such as horror writer Clive Barker. And that all-important advertising revenue. Helping it last a good few years more, outlasting other publications of that type at the time.
Deadline was also picked up by Dark Horse Comics, but it was in comic book format. Something Elliott was not a big fan of, and so the relaunch will return it to its original magazine format, “so you can see the artwork”.
While Kek-W never worked for the original Deadline, he nearly got involved. But he would end up in the pub instead!
Interestingly, any Shaky Kane work for 2000 AD will never be reprinted because the current editor, Matt Smith, wrote Shaky a letter stating he’s never liked his artwork! Something that Shaky is keen to point out doesn’t bother him.
As for this A1/Deadline Special, successfully funded on Kickstarter, they have Rufus Dayglo –– who just missed to on being published in the original Deadline — Evan Dorkin with brand-new Milk & Cheese comic strips, George Pratt, Dan Panosian, and many more. In fact, it was Panosian saying to Elliott that he would love to work with Elliott that got him thinking of relaunching A1 and Deadline in the first place. With Elliott being a seasoned editor, he has a lot of talented friends he can call on. And friends who want to genuinely get involved. “Elliott’s kept the legacy alive,” said Shaky. This news special will feature legacy creators and reprints as well as new strips, too. The perfect combination for fans, young and old. “I want it to be a place where I can find new talent and a place they can break into the business,” Elliott declared. A noble concept if it comes off. Judging by the lineup for the first special, it’s still an area, I believe, that could be developed. Look to the future, with one eye on the past, would be my advice.
Working in this UK title appeals to Kek-W, because he can be looser and more satirical writing for a publication like A1/Deadline. Plus, as Elliott says, the beauty of an anthology is that it can offer the readers a broad and varied reading experience, with no two things being the same. Including the art style.
For those who are unfamiliar with A1 or Deadline, all you need to really know is that it was irreverent, anti-establishment and very punk rock. I remember an early issue of Deadline including an article on the growing homelessness problem in the UK. And that was three decades ago! It’s a publication I feel is both needed, as an alternative voice to mainstream comics, and prescient. The times we live in now definitely need A1 and Deadline to rage against the machine. I, for one, am more than pleased with its return.
