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Because, and I hope I don't cause offence here, I don't think that what you're saying is really relevant to Zenith or to the discussion that is gong on here. Zenith phase 1, in particular, is primarily an alienated look at the world of 80s Britain, but more specifically the venality and artificiality of a series of worlds - fashion, pop music, politics - based in London. This is brought out when Zenith is dragged out of London, to Wales and Scotland, both of which he insults and about both of which he is profoundly rude. Phase 3 is primarily about the cut-glass, posh-boy heroes of the 1940s being destroyed by a reality for which they are utterly unprepared. Phase 4 - well, that's a bit different, but then it is also a coda, and sees us returning, in fact, to the insular, claustrophbic world (real and fake) of Zenith and Peter St John's London.
And, ultimately, Zenith was not aimed at an international audience, but at the readers of 2000AD, a British comic aimed at a readership with a broadly shared set of experiences. People are noting in this thread, in fact, the differences between coming to Zenith as a child reading 2000AD in Britain and somebody writing a critical appraisal of it from an adult and American perspective. I think you can certainly see a development in his work towards an international audience, but one in which _Britishness_ is often deployed as a textual exoticism. However, this work is produced in the expectation of a different audience.
One can say this of Mugatroyd without impugning his Scottishness or Scottishness in general, I think. |
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