2000 AD: A British institution

For British comics week, we'll be looking at a pair of creators from a different tradition each day. Today: Colin Smith speaks to Al Ewing and Henry Flint.

2000 AD artist Henry Flint still recalls the excitement of encountering the first issue of the weekly SF-adventure comic. It was, he says, "nasty, brutal. Parents hated it. The morality of the heroes was questionable. After the Beano, I was a little scared. I loved it."

It's hardly surprising that his seven-year-old self would feel that way. 2000 AD was nasty and brutal and purposefully so. A long-pent up snarl of frustration and ambition from creators weary of profoundly conservative comics, 2000 AD featured the grimmest of anti-heroes in absurdly amped-up, fantastical tales with more than just a taste of radical agitprop. An America devastated by nuclear war and ruled over by one-strike-and-you're-executed blackshirts! Giant intelligent dinosaurs warring with time-travelling cowboys sent back to slaughter them from an environmentally-depleted and meatless 23rd century! Like so much of the best pop culture, 2000 AD took a generally dismissed form and infused it with innovative storytelling, challenging politics and a gleefully taboo-busting sense of the transgressive. "As a kid, 2000 AD was a friend, it was my secret," remembers Flint. "I felt like I'd been accepted into a secret club."

Writer Al Ewing, a frequent collaborator of Flint's, was similarly impressed by the copies which his elder brother brought home every week:

"2000 AD taught me the first lessons about how deft and intelligent comics could be, while at the same time being a thrill-ride suitable for all ages. After that I kind of stopped paying attention to the people trying to teach me that comics were inherently junk."

The past year has been a remarkable success for 2000 AD and its publisher Rebellion Press. The transformation of the entertainment landscape means it's no longer able to rely on a mass audience of young readers inculcated with the habit of reading comics. But Rebellion has responded by nurturing new markets for its huge library of characters and stories through book collections, digital distribution, films, gaming, audio plays, and more.

Even while the movie adaption of its flagship character Judge Dredd topped the British box-office earlier in the year, the comic itself continued to focus on ingeniously-crafted "thrill-rides" (the comic has its own joke vocabulary – stories are "thrills", issues are "progs", and the whole thing is "edited" by an alien from Betelgeuse called Tharg). The content itself is typically a touch more measured now, aimed at an older audience. But the comic's never lost its signature fusion of out-there excitement, ever-ambitious craftsmanship and smart, challenging content. As Flint says, "It can't be what it was in the 80's, but it's evolved into something relevant for today. It seems to have settled into a new identity which still delivers the pathos and humour while offering a mirror to the modern world."

Whether working together or with other creators, Flint and Ewing's contributions to 2000 AD are marked by a determination to be both accessible and innovative, populist and experimental. There's nothing precious or pretentious about their pages, but there is a fierce conviction that empty-hearted retreads of past features and complacent narrative shortcuts are to be avoided at all costs. (Ewing: "When you look at your work and think how perfect it is, that's the start of the long decline.") As such, their body of work together is notably versatile and entertaining, packed as it tends to be with a willingness to hybridise 2000 AD's strips with a broad range of cultural influences. Their recent, claustrophobic noir-tinged take on Judge Dredd – the future's most fascist super-cop – unexpectedly drew from the paranoia and scheming of John Le Carre's spy novels. In contrast, their horror-comedy Zombo mixed precisely calibrated farce with broad political satire, as they lashed out at reactionary politicos, 21st century celebrity culture and slack-minded genre clichés alike.

Both men are quick to praise the way in which the current regime at 2000 AD under longtime editor Matt Smith supports their ambitions. Ewing refers to Smith as "one of the best editors you could possibly have", and Flint lauds the "freedom to experiment, change style, pick and choose who you want to work with and which projects you'd like to work on." Ewing values the fact that "once someone creates a new strip, it's generally understood that nobody else will be working on it, so I won't open the comic one day and see my character taken over by someone else."  Some writers and artists working elsewhere in the comics industry on company-owned properties may find such a fundamentally respectful situation difficult to believe in. But it's certainly paid dividends for 2000 AD and its monthly sister title, the Judge Dredd Megazine.

A comic that's approaching its 36th year in print might be expected to be heading for heritage status, safely churning out approximations of old glories for an ever-diminishing audience. But no one could hold on to such an assumption after interviewing Flint and Ewing. Both speak enthusiastically, for example, of their involvement in the recent Trifecta crossover, in which a trio of apparently quite separate strips by entirely different creative teams were slowly revealed to be telling the same story from multiple perspectives. The equivalent of three prime-time cop shows reaching mid-series before unexpectedly beginning to merge, Trifecta presented the reader with an unusually complex and inventive cross-narrative about a coup in Judge Dredd's beloved Mega-City One. An experiment the likes of which the comic had never seen before, it's been greeted with unanimously positive reviews.

Yet no matter how enthused by that experience Flint's been, he's still playfully sure that the next Zombo series will be, all "modesty set aside… brilliant". But then, as Ewing argues, "the best thing we've done together is always the newest thing".

The last word should perhaps go to Ewing, a novelist as well as an author of comics. When asked whether 2000 AD was still an important comic in 2012, his response was unequivocal:

"It's always been an important comic."

With thanks to Henry Flint and Al Ewing for their aid.

A slice of the front cover of 2000 AD #1812. Image: Rebellion Press

Colin Smith is a comics critic who writes the blog Too Busy Thinking About My Comics.

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SRSLY #20: Friends, Lovers, Divers

On the pop culture podcast this week, we talk albums from Joanna Newsom, Bjork and Grimes, Todd Haynes film Carol, and comedy web series Ex-Best.

This is SRSLY, the pop culture podcast from the New Statesman. Here, you can find links to all the things we talk about in the show as well as a bit more detail about who we are and where else you can find us online.

Listen to our new episode now:

...or subscribe in iTunes. We’re also on Stitcher, RSS and SoundCloud – but if you use a podcast app that we’re not appearing in, let us know.

SRSLY is hosted by Caroline Crampton and Anna Leszkiewicz, the NS’s web editor and editorial assistant. We’re on Twitter as @c_crampton and @annaleszkie, where between us we post a heady mixture of Serious Journalism, excellent gifs and regularly ask questions J K Rowling needs to answer.

If you’d like to talk to us about the podcast or make a suggestion for something we should read or cover, you can email srslypod[at]

You can also find us on Twitter @srslypod, or send us your thoughts on tumblr here. If you like the podcast, we'd love you to leave a review on iTunes - this helps other people come across it.

The Links

Joanna Newsom, Bjork and Grimes

Joanna Newsom’s Divers doesn't seem to be on Spotify, but you can get it on iTunes here. Listen to Grimes’ Art Angels here and Bjork's Vulnicura here.

This is a good piece about Joanna Newsom.

This piece makes the comparison with Elena Ferrante that we talk about on the podcast.

Here's Grimes's own post about Bjork.

Tavi Gevinson's interview with Joanna Newsom (where she talks about liking Grimes).



Ryan Gilbey's review of Carol, which he calls “as tantalising as hearing a tender ballad on a tinpot transistor”.

Anna's piece about the photographers that influenced the visual style of the film.

An interesting Q & A with director Todd Haynes.



The full series is available to watch for free here.

Meghan Murphy on friendship break-ups.


Your questions:

We love reading out your emails. If you have thoughts you want to share on anything we've discussed, or questions you want to ask us, please email us on srslypod[at], or @ us on Twitter @srslypod, or get in touch via tumblr here. We also have Facebook now.


Our theme music is “Guatemala - Panama March” (by Heftone Banjo Orchestra), licensed under Creative Commons. 


See you next week!

PS If you missed #19, check it out here.

Caroline Crampton is web editor of the New Statesman.

Anna Leszkiewicz is a pop culture writer at the New Statesman.