The fanzine featured reprints and new strips, art, and writing from such creators as Steve Parkhouse, Dave Gibbons (who designed the logo), Michael Moorcock, Frank Bellamy, Don Lawrence, and Barry Windsor-Smith.

[1] Following the success of House of Hammer and Starburst, Skinn was head-hunted by Stan Lee of Marvel Comics to take over the company's ailing British division.

[6]The contents of Warrior deliberately mimicked the successful elements from his work for other publishers - Marvelman was planned to emulate the revival of Captain Britain in the Hulk Weekly's Black Knight strip, V for Vendetta traded on similar motifs to Night Raven, Axel Pressbutton had a similar theme to Abslom Daak from Doctor Who Monthly and Father Shandor fitted the sword-and-sorcery profile of Conan the Barbarian.

While page rates for the initial work were lower than those offered by rivals IPC Magazines, DC Thomson and Marvel UK, the creators of each strip would receive a share in their output's ownership and increased royalties for reprints, instead of the normal industry practice of work-for-hire.

[9] Both the editorial-cum-contents page and Skinn's replies to readers' letters would adopt a similarly candid approach, giving a generally unvarnished look at the magazine's frequent production problems.

[17] Warrior #15 saw the first of the 'Sweatshop Talk' articles featuring interviews with creators – beginning with Steve Moore being 'interviewed' by his pseudonym Pedro Henry; the pair being one and the same was something of an open secret at the time.

[22] Skinn wanted the material in Warrior to share a fictional universe, with connections between the strips to be gradually developed, with the various heroes eventually forming a Justice League-style super-team tentatively called Challenger Force.

This was exacerbated by the general lack of spoils themselves; despite acclaim Warrior was losing money, being propped up by the takings of Skinn's Quality Comics store.

[16] Further problems arose when creative staff began receiving offers from American publishers and had less time to contribute to Warrior, slowing or curtailing storylines.

[5] Secondly, Alan Moore's relationship with Skinn deteriorated; a key point of the dispute was a growing suspicion that the editor had not correctly licensed the character in contrary to what he had told the writer.

Thirdly, the publishing of a one-off Marvelman Special in July 1984 had drawn legal action for trademark infringement from Marvel Comics; while the strip had already stalled this made potential syndication partners wary as Skinn was attempting to find a package deal for entirety of Warrior's contents.

[5] As well as the planned 'Project' stories, other victims of the cancellation included Leach superhero strip Power, Steve Moore and Jim Baikie's Claustrophobia and Grysdyke Dean, which was a submission by readers Paul Alexander and Mike Nicholson.

[16] Following the demise of Warrior, the story was picked up by DC Comics, who eventually published the material and its continuation in a ten-issue 1988 limited series.

For the character's appearances in Warrior, Skinn requested the creation of a female co-star and Axel was joined by the Laser Eraser Mysta Mystralis.

[16] A fantasy sword and sorcery strip by Steve Parkhouse and Bolton,[citation needed] concerning the travails of Caed and his friend's daughter Bethbara in the land of Tairngir.

While the strip appeared in Warrior #1 it then disappeared until #11, due to what Skinn's editorial called a "catalogue of ill-luck"; the story was now drawn by John Stokes.

The Sultan of Slime received his own solo strip in Warrior #3, written by Steve Moore (under his Pedro Henry pseudonym) and drawn by Brian Bolland.

[16] A science fiction story written by Alan Moore and drawn by Garry Leach concerning the Warpsmiths, a highly advanced race of aliens with the ability to teleport instantaneously.

The strip bore one of the few explicit shared connections in the magazine - Mysta Mystralis was cloned from cell tissue of the title character, effectively making Ektryn a Laser Eraser and Pressbutton prequel.

[16] Future-set private eye story written by Antonio Segura and drawn by Leopoldo Sánchez, imported from Spain and translated into English for Warrior by Skinn, appearing in #22-23 & #26.

Originally created by Dez Skinn and artist Ian Gibson[15] as a possible addition to House of Hammer, the existence of a completed unpublished story with the character led to the editor requesting Big Ben be included in Marvelman.

[15] Later, new material featuring the character was created for Warrior by Skinn (now credited under his real name); Leach was initially announced as artist[33] but instead Will Simpson would draw the strip.

This posited that - contrary to the depiction in Marvelman and later minor appearances in Miracleman - Big Ben was a shape-shifting alien that had taken on the guise of Lord Benjamin Charterhouse Fortescue.

[15] A group of rebels fights the alien Metamorphs in the post-apocalyptic London of 2470; the strip was one of the few to feature clear connections to others in the magazine, with concepts related to Big Ben.

[16] The first of a two-part prequel written by Grant Morrison (some of his earliest professional work) then appeared in #26; due to Warrior's cancellation the second instalment wouldn't be printed until the 1996 'Spring Special'.

[37] While large-format black-and-white magazines were falling out of fashion and the exported Warrior issues only reached speciality stores it drew some influential readers.

Skinn would later attribute Alan Moore's selection as writer for Saga of the Swamp Thing - a key factor in the so-called British Invasion - to Dick Giordano and Len Wein being Warrior readers.

[16] Letters page 'Dispatches' meanwhile would attract letters from established industry figures including then-2000 AD editor Steve MacManus[37] Martin Lock[38] Bill Black[39] and Marv Wolfman,[40] as well as future comics figures Kevin O'Neill,[41] Bambos Georgiou,[41][38][42][17] Warren Ellis,[43][33] Lew Stringer,[37] Roger Broughton,[44] Rik Levins[11] and Richard Starkings.

Both have received considerable commercial and critical acclaim; V for Vendetta was adapted for cinema in 2005 and David Lloyd's art inspired the hacktivist group Anonymous, while Miracleman has been continued by Neil Gaiman.

[7] A "Spring Special" flip book 'issue' of Warrior was published in #67 of Skinn's Comics International in 1996, featuring previously completed but unpublished Big Ben and Liberators strips.