Last year, the third series of Black Mirror vied with Stranger Things and Game of Thrones to be the 'show you must watch' – and must discuss, but only after everyone's seen it. In response, pop artist Butcher Billy created six faux comic book covers based on his favourite Black Mirror episodes from across the show's three series (the first two for Channel 4 and this year's for Netflix).
These proved to be hugely popular – both on this site and across the web – so Billy went on to create covers for the remaining seven episodes. Here we've collected the full set for you to peruse.
The Black Mirror comic covers are just-for-the-fun-of-it mashups – so don't go looking for subversive commentary, just in-jokes and references to memorable moments.
This cover is based on the very first episode, The National Anthem. This was a railing piece of political satire that succeeded in getting the show noticed outside of fans of the show's creator – satirist Charlie Brooker – but had the subtlety and depth of a Viz comic strip.
Mashable noticed that the covers were quickly noticed by Brooker, who asked on Twitter about buying prints of them. If you want to get your hands on them too, you can buy them from the artist's Redbubble page.
Read on to see the rest of the covers.
15 Million Merits saw the series creators experiment with high-concept sci-fi satire – constructing a metaphorical world of work and consumption where fame is the only aspiration.
The Entire History of You was when the first series finally found what made future series so compelling – not just imagining a near-future world based on a grand idea, but telling a human story within it.
Series Two started with the delicately handled and touching Be Right Back. It caught viewers off-guard, as while it still wanted to make viewers think about the impact of technology on society, it did this making you feel sad rather than disturbed.
Billy's artwork refers to the virtual Ash being constructed from his online identity alone.
After Be Right Back, the following episode White Bear returned to the type of storytelling that most people associate with Black Mirror – and succeeded in creating one of the most disturbing pieces of television ever.
The final episode of Season 2, The Waldo Moment returns to political satire – though less crudely than on The National Anthem. Billy's artwork riffs on the many similarities the anti-establishment character Waldo has to Donald Trump.
After Season Two, a Christmas special included a series of interconnected stories. This cover focusses on the overarching tale of Joe (played by Mad Men's Jon Hamm).
The second Christmas cover is based on Joe's backstory.
That the third season of Black Mirror was so good is perhaps a surprise. The idea of a cult British show bought by Netflix, given a much bigger budget – and with some episodes set in the US – sets off all kinds of red flags that it might lose its edge (or just turn out to be rubbish).
These fears first seemed to realised in the first episode, Nosedive – which features a well-known US star, a Californian location with a glossy sheen and lacked the unsettling nature of the best of the previous series. However, considering how disturbing later episodes were, you could see this episode as way for Netflix to pull in a big US audience who were unaware of Channel 4's version – before pummelling them with the likes of Shut Up and Dance (and the gloss was inherent to the plot, and gone by episode 2).
Playtest aimed to scare the willies out of the viewer – and succeeded.
In many ways, Shut Up and Dance was a rerun of White Bear – but it still managed to make you feel deeply unpleasant about the world we live in.
With San Junipero, Brooker managed to confound expectations again – by producing a story that was genuinely heartwarming and life-affirming.
This cover for Men Against Fire draws on the poster art for Stanley Kubrick's film Full Metal Jacket – another tale of the dehumanisation of soldiers.
The final episode in Series Three of Black Mirror, Hated in the Nation, begins by exploring how hate permeates online – especially when permeated by a Katie Hopkins-like 'professional hater'.
From here, it veers off into a sci-fi direction as a warning of what exactly hate breeds.