I saw a little of Glyn Dillon's work (in Deadline, Shade the Changing Man, and Sandman) in the '90s, and never forgot it: in the general school of Jamie Hewlett and Philip Bond, not too serious, but infectiously happy and full of deeply cool characters - you felt sort of hip just reading it.
I would have been nostalgically happy with more of the same, but Glyn Dillon has developed like a lunatic: his already exceptional art has evolved into really beautiful line-and-watercolour work, which just the same reads as fluently and grippingly as any comic; and he now seems to be an excellent, thoughtful writer, not trying to impress or condescending, but immersed in telling a warm, sensitive story about complex, surprising, and completely plausible characters. It is very satisfying to register for yourself the very many unlaboured internal connections and references he has troubled to make. Nao Brown is, I suppose, one of the deeply cool young people from his old work; but he is now interested in her thoughts and outlook...which turn out to be so utterly detached from her elegant, confident exterior that even the central romance of the story hardly seems to touch her (she seems more startled than anything when Gregory's thoughts seem eerily in tune with her own). Even with this seriousness, the story manages to seem light and happy.
It is very terrible to think that such an excellent and purely enjoyable comic might not find an audience. Unless you are totally opposed on principle to small-scale dramas, I guarantee you will not regret looking into this book.