As a Briton living overseas, I am always delighted to see people from the old country shamelessly milk their Britishness to sell themselves abroad. The more we ham it up, the more people seem to love it, as evidenced by Eddie Redmayne's Oscar win. So it's in that same glorious spirit that Titan Comics is playing up the "Downton Abbey and crumpets" angle for its May comics promotion, Best of British, featuring new and classic works from a roster of creators that includes Peter Milligan, Si Spurrier, Alan Martin, D'Israeli, and the late Brett Ewins. Check out the trailer above, debuting exclusively on ComicsAlliance.
The way I've always understood anthology series is that you never want every story to end at the same time, because the idea is that by chaining everything together, the reader never has a chance to jump off. That might sound mercenary, but really, it's just simple economics: If everything you're into ends all at once, then you've got a lot less incentive to come back for the next issue. Right? Right.
Well, it seems that last week's issue of 2000 AD went against that little bit of conventional wisdom by capping off every story that they had going so that they could set up this week's offering: Their 1900th issue, which celebrates the milestone by launching three new stories, and provides a perfect jumping-on point. If you haven't been reading 2000 AD and want to see what all the fuss is about, this is the issue to get -- and you should definitely get it, because all three stories are pretty awesome.
Let me be the first to apologize to you, on behalf of the entire comics press. We screwed up. We were too focused on the wrong events in 2012. We spent tens of thousands of words on Avengers vs X-Men, Before Watchmen, Night of the Owls, and we missed the fact that there was a bigger, better, and extremely satisfying crossover sitting right under our noses. Not all of us -- a few of
On sale now is SVK by Warren Ellis and Matt "D'Israeli" Brooker, a new detective story that's particularly remarkable not just because of the typically superlative work of both creators but also because of the technology the book employs. SVK uses an invisible ultraviolet ink to conceal the inner monologues of it