Vertigo Comics – Wikipedia

imprint of comic-book publisher DC Comics
“ DC Vertigo ” redirects here. For the DC Comics villain, see Count Vertigo Vertigo Comics, besides known as DC Vertigo or just Vertigo, was an imprint of american comic koran publisher DC Comics started by editor Karen Berger in 1993. Vertigo ‘s purpose was to publish comics with adult contentedness, such as nakedness, drug use, profanity, and graphic violence, that did not fit the restrictions of DC ‘s chief line, therefore allowing more creative freedom. Its titles consisted of company-owned comics set in the DC Universe, such as The Sandman and Hellblazer, and creator-owned works, such as Preacher, Y: The Last Man and Fables. The Vertigo stigmatize was retired in 2020, and most of its library transitioned to DC Black Label. Vertigo grew out of DC ‘s mature readers ‘ cable of the 1980s, which began after DC stopped submitting The Saga of the Swamp Thing for blessing by the Comics Code Authority. Following the achiever of two adult-oriented 1986 circumscribed serial, Batman: The Dark Knight Returns and Watchmen, DC ‘s output of mature readers titles, edited by Berger, grew. By 1992, DC ‘s mature readers ‘ line was editorially discriminate from its chief line and Berger was given license to start her own imprint. Vertigo was launched in January 1993, with a mix of existing DC ongoing serial and modern series. The first original Vertigo series was Death: The High Cost of Living, a Sandman by-product featuring the character Death.

Although its initial publications were primarily in the repugnance and fantasy genres, over time Vertigo published works dealing with crime, social comment, bad fabrication, biography, and other genres. Vertigo besides adopted works previously published by DC under early imprints, such as V for Vendetta and Transmetropolitan. The depression pioneered in North America the publication model in which monthly series sold through amusing book shops are sporadically collected into editions which are kept in photographic print for bookshop sale. As DC ‘s most popular and enduring imprint, respective Vertigo serial won the comics industry ‘s Eisner Award, including for “ best continuing series ”, and were adapted to film and television. The imprint began to decline in the 2010s, as certain properties like Hellblazer and Swamp Thing were re-integrated into DC ‘s independent amusing books, while Berger departed in 2013. Berger ‘s passing was followed by a serial of editorial restructures, culminating in the imprint ‘s relaunch as DC Vertigo in 2018. however, the relaunch suffered a multitude of setbacks, including numerous cancellations. After months of speculation, in June 2019 DC announced that Vertigo would be discontinued as part of a plan to publish all the party ‘s comics under a one banner, with DC Black Label taking its place as DC ‘s mature readers ‘ imprint .

history [edit ]

Development [edit ]

Vertigo originated in 1993 under the stewardship of Karen Berger, a former literature and art-history student, who had joined DC Comics in 1979 as an adjunct editor program. In the mid-1980s, Berger was editor program of such DC titles as Wonder Woman and Amethyst, Princess of Gemworld, and began recruiting writers from the UK, including Neil Gaiman, Jamie Delano, Peter Milligan, and Grant Morrison. [ 1 ] She “ found their sensibility and point of view to be refreshingly different, edgier and smarter ” than those of most american comics writers. [ 1 ] Berger edited several newfangled or revived series with these writers and Alan Moore ( a british writer hired by editor Len Wein ), including superhero / skill fiction series such as Animal Man, Doom Patrol vol. 2, and Shade, the Changing Man vol. 2, illusion series The Sandman vol. 2, and horror titles Hellblazer and The Saga of the Swamp Thing. [ 2 ] She besides edited limited series such as Kid Eternity, Black Orchid ( Gaiman ‘s first base employment for DC ) [ 3 ] and The Books of Magic limited series. These six ongoing titles, all of which carried a “ Suggested for Mature Readers ” label on their covers, [ 4 ] shared a sophistication-driven sensibility the comics fan media dubbed “ the Bergerverse ”. [ 5 ] In a 1992 editorial meet with Levitz, publisher Jenette Kahn, and managing editor program Dick Giordano, Berger was given the mandate to place these titles under an impress that, as Berger described, would “ do something unlike in comics and help the culture medium ‘grow up ‘ ”. [ 5 ] several DC titles bearing the long time advisory, such as Green Arrow, Blackhawk, and The Question ( the end two cancelled before the launching of Vertigo ), did not make the transition to the new depression. [ 6 ] meanwhile, Disney Comics and former DC editor program Art Young had been developing an imprint to be called Touchmark Comics, analogous to Disney ‘s mature-audiences Touchstone Pictures studio. This stick out was abandoned following the alleged “ Disney Implosion ” of 1991. young and those works were brought into the Vertigo close up, allowing Berger to expand the imprint ‘s print plans with the express series Enigma, Sebastian O, Mercy, and Shadows Fall. [ 7 ]

initial year [edit ]

Vertigo was launched in January 1993 with a assortment of existing ongoing series continued under the newly imprint, new ongoing series, modern limited series, and single-volume collections or graphic novels. Their publication plan for the first class involved two modern titles – whether ongoing/limited series or one-shots – each calendar month. The existing series ( cover date March 1993 ) were Shade, the Changing Man ( starting with # 33 ), The Sandman ( # 47 ), Hellblazer ( # 63 ), Animal Man ( # 57 ), Swamp Thing ( # 129 ), and Doom Patrol ( # 64, with new writer Rachel Pollack ). The first comedian book published under the “ Vertigo ” imprint was the first offspring of Death: The High Cost of Living, a 3-issue series by Neil Gaiman and Chris Bachalo. The second raw title was the first emergence of Enigma, an 8-issue limited series initially planned to launch Touchmark, written by Peter Milligan ( besides generator of Shade, the Changing Man ) and drawn by Duncan Fegredo, the artist from Grant Morrison ‘s earlier Kid Eternity limit series. [ 7 ] The following month saw the debut of Sandman: Mystery Theatre by Matt Wagner and Steven T. Seagle, and illustrated chiefly by Guy Davis, described as “ playing the ’30s with a ’90s feel … haunting, film noir -ish …, ” and starring original Sandman Wesley Dodds in a title whose “ sensibilities echo crime music genre fabrication. ” [ 7 ] Joining it was J. M. DeMatteis and Paul Johnson ‘s 64-page one-shot Mercy. New series that began in the months that followed include Kid Eternity ( ongoing ) by Ann Nocenti and Sean Phillips ( continuing from the earlier Morrison-penned circumscribed series ), Grant Morrison and Steve Yeowell ‘s 3-issue steampunk specify series Sebastian O ( another ex-Touchmark project ), Skin Graft by Jerry Prosser and Warren Pleece, The Last One by DeMatteis and Dan Sweetman, Jonah Hex: Two-Gun Mojo by Tim Truman and Sam Glanzman, Black Orchid ( ongoing ) by Dick Foreman and Jill Thompson ( continuing from the earlier Gaiman/McKean limited serial ), The Extremist by Peter Milligan and Ted McKeever, Scarab by John Smith with Scot Eaton and Mike Barreiro, and The Children’s Crusade, a crossing involving several of the imprint ‘s ongoing serial. The Books of Magic limited series was relaunched as an ongoing serial written by John Ney Rieber, and illustrated by Peter Gross ( subsequently besides writer ), Gary Amaro, and Peter Snejbjerg. Although the books did not have a reproducible “ house stylus “ of art, the cover designs of early Vertigo series featured a uniform deal trim with a vertical bar along the leave side, which included the imprint logo, price, date, and issue numbers. [ 7 ] The design layout continued with very fiddling variation until issues cover-dated July 2002 ( including Fables # 1 ) which introduced an across-the-top layout ahead of 2003 ‘s “ Vertigo X ” 10th anniversary celebration. The “ distinctive blueprint ” was intended to be used on “ all Vertigo books except the hardcovers, trade paperbacks, and graphic novels. ” [ 7 ] Berger noted that DC was “ identical ” committed to the line, having put a “ fortune of muscle behind ” promoting it, including a promotional launching kit made available to “ [ r ] etailers who order [ erectile dysfunction ] at least 25 copies of the February issue of Sandman [ # 47 ], ” a “ platinum version ” variant screen for Death: The High Cost of Living # 1 and a 75-cent Vertigo Preview comic featuring a specially written seven-page Sandman narrative by Gaiman and Kent Williams. [ 7 ] In addition, a 16-page Vertigo Sampler was besides produced and bundled with copies of Capital City Distribution ‘s Advance Comics solicitation index. [ 7 ] Vertigo publications broadly did not take set in a shared universe. however, respective of the early series which had begun as share of the chief DC Universe had a “ crossover ” in 1993-1994 : The Children’s Crusade. The event— ” did not yield smashing results ” or garner many positive reviews, in boastfully separate due to its “ gimmicky ” nature, which ran counter to Vertigo ‘s far-out, non-mainstream appeal and customer-base. [ 8 ] The event was defended as “ no marketing gambit ” by one of the consequence ‘s editors, Lou Stathis, who wrote of his disfavor of the much “ crass handling ” of crossing over events, defending The Children’s Crusade as having come not from commercialize, but the writers ‘ minds, and consequently being “ story-driven ” rather than manipulative. [ 9 ] The crossover did not become an annual event, however—indeed, “ annuals ” linked to Vertigo series rarely reappeared after this event. Works previously published by DC under other imprints, but which fit the general quality of Vertigo, have been reprinted under this imprint. This has included V for Vendetta, earlier issues of Vertigo ‘s ongoing launch series, and books from discontinued imprints such as Transmetropolitan ( initially under DC ‘s ephemeral sci-fi Helix impress ) and A History of Violence ( originally separate of the Paradox Press line ). Two of the new ongoing series did not last farseeing ; Kid Eternity was cancelled after 16 issues, and Black Orchid continued for only 22. Sandman Mystery Theatre and most of the preexistent series continued for several years, including Sandman which reached its plan stopping point with # 75. Hellblazer was the last of the original ongoing series to be canceled, ceasing publication in February 2013 with # 300. [ 10 ]

Middle menstruation [edit ]

As the imprint ‘s initial ongoing series came to their ends, new serial were launched to replace them, with varying degrees of achiever. The Sandman was replaced following its completion by The Dreaming ( 1996–2001 ) and The Sandman Presents, which featured stories about the characters from Neil Gaiman ‘s serial, written by other creators. early long-running series have been The Invisibles by Grant Morrison and assorted artists ( 1994–2000 ) ; Preacher by Garth Ennis and Steve Dillon ( 1995–2000 ) ; Transmetropolitan by Warren Ellis and Darick Robertson ( 1997–2002 ) ; 100 Bullets by Brian Azzarello and Eduardo Risso ( 1999–2009 ) ; Lucifer by Mike Carey, Peter Gross, and Ryan Kelly ( 2000–2006 ) ; Y: The Last Man by Brian K. Vaughan and Pia Guerra ( 2002–2008 ) ; DMZ by Brian Wood and Riccardo Burchielli ( 2005–2012 ) ; and Fables by Bill Willingham, Mark Buckingham, and diverse other artists ( 2002–2015 ), which launched spin-offs including Jack of Fables by Willingham, Lilah Sturges ( credited as “ Matthew Sturges ” ), and assorted artists ( 2006–2011 ), and Fairest by Willingham and diverse artists ( 2012–2015 ). The fiscal success of many Vertigo titles relied not on monthly topic sales, but on the subsequent “ deal paperback ” editions that reprinted the monthly comics in volumes, which were besides sold in general-interest bookshops. Vertigo ‘s success in popularizing this approach led to a wider take-up in the american comics industry of routinely reprinting monthly series in this format. [ citation needed ] Limited series ( ideal for later collection ) and original graphic novels made up the majority of the imprint ‘s output, with deal paperback book sales accounting for a substantial segment of the imprint ‘s sales. [ citation needed ]

Vertigo Visions [edit ]

An irregular series of collected short stories featuring characters from the DC Universe, reinterpreted or recontextualized .
Vertigo Visions: Artwork from the Cutting Edge of Comics was a 2000 solicitation of artwork from assorted Vertigo titles, with comment by Alisa Kwitney. [ 12 ]

Vertigo Voices [edit ]

The Vertigo Voices featured creator-owned “ distinctive one-shot stories. ” [ 13 ]

Vertigo Vérité [edit ]

The ephemeral “ Vérité ” line, evoking the naturalism of Cinéma vérité, “ was a 1996–98 attempt to promote modern Vertigo projects barren of the supernatural qualities that had gotten to define the publisher. ” [ 14 ]

V2K [edit ]

The “ fifth-week event “ sword V2K ( Vertigo 2000 ), was a “ much hyped concept ” whose titles were designed to “ usher … in the new millennium, ” and, as such, respective of them were limited series preferably than one-shots. [ 18 ]

Vertigo Pop ! [edit ]

The Vertigo Pop limited series were designed “ to be about pop culture around the ball in some vaguely specify way. ” [ 19 ]

  • Vertigo Pop: Tokyo #1–4 (September–December 2002) by Jonathan Vankin and Seth Fisher
  • Vertigo Pop: London #1–4 (January–April 2003) by Peter Milligan and Philip Bond
  • Vertigo Pop: Bangkok #1–4 (July–October 2003) by Vankin and Giuseppe Camuncoli

Vertigo x [edit ]

In 2003, the Vertigo imprint celebrated “ Ten years on the edge ” [ 20 ] by branding their books cover-dated April 2003 to February 2004 ( i.e. released between February and December 2003 ) —Vertigo ‘s tenth anniversary—with the legend Vertigo X. This special subtitle was debuted on the Vertigo X Anniversary Preview ( April 2003 ), a 48-page special previewing Vertigo ‘s approaching projects and featuring a short Shade, the Changing Man story by the “ ecstatic ” team of Peter Milligan and Mike Allred ( a pun on their then-current Marvel project together : X-Statix ). Projects highlighted included Death: At Death’s Door, Jill Thompson ‘s first manga -ized version of the “ Season of Mists “ storyline, repeat from the detail of view of the Sandman ‘s elder baby Death and Gaiman ‘s own return to the mythos with the hardback Sandman: Endless Nights all-star solicitation of short stories spotlighting the seven members of the Endless. ( an eight-page Endless Nights Preview issue was besides released before the hardback ). besides highlighted and previewed were two original graphic novels : Lovecraft ( based on a screenplay by Hans Rodionoff and adapted by Keith Giffen with art by Enrique Breccia ) took the conceit that H. P. Lovecraft ‘s Cthulhu mythos creatures were real, to paint a highly fictionalize biographic portrait of the nominal writer, while Howard Chaykin and David Tischman ‘s Barnum! ( with art by Niko Henrichon ) similarly drifted in the kingdom of fictionalize biography, but did not stray into the horror/supernatural worldly concern. The fib of Barnum: In Secret Service to the USA saw the celebrated showman saving the life of President Grover Cleveland and ( with his circus charges, including original thai twins Chang and Eng ) matching wits against the “ evil ” Nikola Tesla. besides previewed as a 2003 free from Vertigo was Brett Lewis and John Paul Leon ‘s The Winter Men, which ultimately saw its first topic released in September 2005 through WildStorm ‘s “ Signature Series ” impress .
The concluding Vertigo Pop ! express series, and the eighth-and-final issue of Garth Ennis ‘ War Story series of one-shots were released in their entirety during the class and featured the logo :

  • Vertigo Pop: Bangkok #1–4 (July–October 2003) by Vankin and Giuseppe Camuncoli
  • War Story: Archangel (April) by Garth Ennis and Gary Erskine

similarly, two other graphic novels were released during the year, but not specifically highlighted in the preview as anniversary titles :
The following ongoing series had issues released during Vertigo ‘s anniversary year and those issues carried the “ Vertigo X ” brand :

  • 100 Bullets #42–48 (April–February 2004) by Brian Azzarello and Eduardo Risso
  • Fables #10–20 (April–February 2004) by Bill Willingham and Mark Buckingham; with Lan Medina, Linda Medley and Bryan Talbot
  • Lucifer #35–45 (April–February 2004) by Mike Carey, Peter Gross and Dean Ormston; with David Hahn and Ted Naifeh
  • Y: The Last Man #8–17 (April–February 2004) by Brian K. Vaughan and Pia Guerra; with Paul Chadwick.

The follow series and express series finished during the year, with the final examination issues featuring the “ Vertigo X ” logo :

  • American Century #23–27 (April–October) by Howard Chaykin, David Tischman and Lan Medina; with Luke Ross and John Severin
  • Codename: Knockout #21–23 (April–June) by Robert Rodi and John Lucas
  • Fight for Tomorrow #6 (April) by Brian Wood and Denys Cowan
  • The Filth #9–13 (April–October) by Grant Morrison and Chris Weston
  • Hellblazer Special: Lady Constantine #3–4 (April–May) by Andy Diggle and Goran Sudzuka
  • Hunter: The Age of Magic #20–25 (April–September) by Dylan Horrocks and Richard Case
  • Sandman Presents: Bast #2–3 (April–May) by Caitlin R. Kiernan and Joe Bennett
  • Vertigo Pop: London #4 (April) by Peter Milligan and Philip Bond

Paul Pope ‘s 100% # 5 was cover-dated July 2003, but was not branded a “ Vertigo X ” entitle .

Vertigo Crime [edit ]

At the 2008 Comic-Con International Karen Berger outlined plans for a newly “ sub-imprint ” [ 21 ] called Vertigo Crime : “ it ‘s a tune of graphic novels, in black and white, hardback ”. [ 22 ] It was launched in 2009 with two titles : Brian Azzarello ‘s Filthy Rich and Ian Rankin ‘s Dark Entries, the latter have John Constantine. [ 21 ] [ 22 ] [ 23 ] [ 24 ] Each volume features a cover illustration by Lee Bermejo. Vertigo Crime was ended as a sub-imprint in 2011. The postdate master graphic novels have been published under the Vertigo Crime imprint ( in arrange of publication ) :

editorial changes, “ relaunch ”, and discontinuance [edit ]

In December 2012, Karen Berger announced that she would be leaving the ship’s company the follow March. [ 25 ] Berger ‘s status at the head of Vertigo was filled by Shelly Bond, who had begun editing for the imprint in 1993. however, in 2016, DC “ restructured ” Vertigo, eliminating Bond ‘s position, [ 26 ] and oversight of Vertigo was placed under Jamie S. Rich, until May 2017 when Mark Doyle became the fresh editor program. [ 27 ] In 2018, DC Comics announced a “ line-wide relaunch and rebranding ” as “ DC Vertigo ”, including 11 new ongoing titles planned for the coming year, under Doyle ‘s editorship. [ 28 ] [ 29 ] These included a newly sub-imprint based on Neil Gaiman ‘s Sandman with four new ongoing series, announced in March, [ 29 ] and seven new series announced in June. [ 28 ] The relaunch experienced a total of complications, however. Border Town by Eric M. Esquivel and Ramon Villalobos distribute with immigration and Latino identity, for which Esquivel received death threats in promote of its publication. [ 30 ] The series was good received by critics, but after four issues were published, Esquivel was accused of sexually and emotionally abusing a former partner. [ 31 ] Villalobos and colorist Tamra Bonvillain withdrew from the plan, and DC cancelled the series, including issues that were ready for publication. [ 32 ] meanwhile, Second Coming by Mark Russell and Richard Pace came under criticism from Christians and conservatives who considered its announce premise – in which Jesus Christ returns and lives as a roommate with a contemporary superhero – blasphemous and offensive. The series was cancelled before the first issue was published ; Russell and Pace later published the serial to critical applaud through Ahoy Comics. [ 33 ] [ 34 ] Safe Sex by Tina Horn and Mike Dowling was besides cancelled before its debut, and late published as SFSX by Image Comics. [ 35 ] [ 36 ] In June 2019, DC announced that, as share of a consolidation into a coordinated stigmatize, the Vertigo imprint would be discontinued in January 2020. The DC Zoom and DC Ink imprints for children and young adolescents were besides eliminated. Under the new plan, all of the company ‘s comics would be published under the “ DC ” brand, and categorized by mean reviewer age : DC Kids ( 8–12 years ), DC ( 13+ ), and DC Black Label ( 17+ ). [ 37 ] The Sandman -related titles retained their new brand as “ The Sandman Universe “.

Creators [edit ]

Editors [edit ]

Panel of Vertigo comics creators at San Diego ComicCon 2007. In accession to Berger, several other editors have become linked to the imprint. Berger was editing proto-Vertigo titles from the starting signal of her prison term with DC, beginning in 1981 with House of Mystery. [ 38 ] She took over editorship of Alan Moore ‘s Swamp Thing run from Swamp Thing co-creator Len Wein in 1984, and in 1986 “ became DC ‘s british affair, ” bringing to DC ‘s pre-Vertigo titles the individuals who would be implemental in the initiation and development of Vertigo seven years later. [ 39 ] From 1988, her Swamp Thing and other DC titles were joined by Gaiman and McKean ‘s Black Orchid miniseries and Hellblazer a well as the leftover miniseries The Weird. Editing Doug Moench ‘s The Wanderers, Berger was joined on return # 5 ( Oct 1988 ) by co-editor Art Young, who would besides belated be instrumental in the formation of Vertigo. Grant Morrison ‘s Animal Man and the ultra-dark Arkham Asylum OGN were swiftly joined on Berger ‘s slate by The Sandman, Skreemer, The Books of Magic, The Nazz and Shade, the Changing Man. Berger continued with The Sandman and Shade during 1992, and saw the pre-Vertigo titles as “ all [ having ] some basis in reality. ” [ 38 ] By the early 1990s, “ [ deoxythymidine monophosphate ] he core Vertigo titles had already become their own small enclave, ” so when Berger returned from pregnancy leave, she spoke with DC President Jenette Kahn and Executive Editor Dick Giordano, the result being a separate imprint to “ actively expand [ the ] sensitivity ” of the titles she had been editing. Berger included in the initial Vertigo line-up the five titles she had had some hand in creating or editing ( Swamp Thing, Hellblazer, Animal Man, Sandman and Shade ) adenine well as Doom Patrol which she “ decided to include … because Grant Morrison was working on it and the sensitivity was very much like the other series. ” [ 38 ] Berger oversaw the integral Vertigo line, and was promoted to the place of “ senior Vice President — Executive Editor, Vertigo ” in July 2006. [ 40 ] Her forwarding came as Vertigo was said to be equivalent to “ the one-fourth largest american comic book publisher ” in 2005, with Paul Levitz praising her personally as having “ built Vertigo into an imprint which is simultaneously one of comics ‘ leading creative and commercial successes. ” [ 40 ] In addition, Berger won Eisner Awards for her edit in 1992, 1994 and 1995 for her work on the proto- and early Vertigo titles Sandman, Shade, Kid Eternity, Books of Magic, Death: The High Cost of Living and Sandman Mystery Theatre. Art Young joined Karen Berger to edit pre-Vertigo issues of Animal Man ( from issue # 3 ), Hellblazer and Swamp Thing on issues cover-dated November 1988. Two months former, Young besides took on the initial issues of The Sandman, before in mid-1990 move to Doom Patrol, which with Animal Man he edited until early 1991 ( besides over-seeing the original Books of Magic miniseries along the room ). He then left DC to work for Disney in setting up Touchmark, before returning with those projects to Vertigo in early 1993, when he edited introduction title Enigma, and late miniseries and one-shots such as Sebastian O, The Extremist, Mercy, Rogan Gosh, The Mystery Play, and Tank Girl: The Moovy. He edited all four of the “ Vertigo Voices ” titles in 1995, american samoa well as Shadows Fall, Ghostdancing, Egypt, Millennium Fever and both Tank Girl miniseries. Young ‘s last editorial credit for Vertigo was Flex Mentallo # 1 ( June 1996 ). Shelly Bond was a Vertigo Group Editor. Like Young, she has overseen a boastfully number of noteworthy projects during her ( almost- ) exclusive time working with Vertigo since April 1993. Roeberg took over column duties on the second Vertigo issues of both The Sandman and Shade, the Changing Man from Lisa Guastella — then Lisa Aufenanger — editing those two titles until their respective final issues ; she besides edited the first 36 issues of the “ ahead of its time ” [ 39 ] crime/noir series Sandman Mystery Theatre. Between 1993 and 2000, she edited titles entirely for Vertigo ( with one exception — the nine issues of Peter Bagge and Gilbert Hernandez ‘s Yeah! ( 1999–2000 ) for DC ‘s imprint court ), including relatively little know titles and one-shots such as Skin Graft, The Last One, The Heart of the Beast ( 1994 ), Mobfire, Terminal City, Menz Insana, The Girl Who Would Be Death, Heavy Liquid, Pulp Fantastic and Accelerate. She besides edited the first Vertigo work of Bill Willingham and Ed Brubaker in Proposition Player and Scene of the Crime, and the higher-profile series Moonshadow, Girl, Seekers into the Mystery, The Minx and all issues of House of Secrets ( with Jennifer Lee from issue # 11 ).
She ( co- ) edited the final 25 issues of The Dreaming between 1999 and 2001, initially as Shelly Roeberg, and recently as Shelly Bond ( after marrying artist Philip Bond ), and most of the Sandman Presents… miniseries and one-shots. From 2000, she has continued to edit most of the highest-profile Vertigo titles, including about all of Mike Carey ‘s Lucifer ( with Mariah Huehner ) and the entirety of Ed Brubaker ‘s Deadenders, Howard Chaykin & David Tischman ‘s American Century, Jonathan Vankin ‘s The Witching, Si Spencer ‘s Books of Magick: Life During Wartime, Steven T. Seagle and Kelley Jones ‘ The Crusades and Bill Willingham ‘s Fables ( to date ). She oversaw the first fourteen issues of American Virgin, the beginning eleven of Jack of Fables, the first two Vertigo Pop! miniseries, Paul Dini ‘s Zatanna: Everyday Magic and the advanced Vertical one-shot. She helped shepherd the OGNs Barnum!, Confessions of a Blabbermouth, 1001 Nights of Snowfall, God Save the Queen, The Little Endless Storybook, Re-Gifters, Sandman: Endless Nights and Silverfish arsenic well as both Bite Club miniseries, Faker, Grip: The Strange World of Men, My Faith in Frankie and House of Secrets: Facade. From 2007, she had besides been heavily involved in the new DC imprint “ Minx ”, but continued to edit titles for Vertigo, including the new 2007/8 series House of Mystery, Vinyl Underground and Young Liars. Tom Peyer was, by 1990 editing ( with Karen Berger ) what would become the pillars of Vertigo : Hellblazer, Sandman ( taking over from Art Young ), Swamp Thing and Shade, the Changing Man. He soon left Swamp Thing to Stuart Moore, however with issue # 100, and Moore would edit and co-edit the remaining 71 issues of that deed, including the substitution from DC to Vertigo. Peyer moved to Doom Patrol and Animal Man, which he edited during the passage from DC to Vertigo, before moving to edit the initial issues of Kid Eternity and Black Orchid equally well as two “ Vertigo Visions ” one-shots. Peyer left editing behind in 1994, returning to DC as a writer. Moore edited a across-the-board range of Vertigo titles between 1993 and 2000, including the transitional issues of Hellblazer ampere well as Swamp Thing, the inaugural fifteen issues of The Invisibles, the first seventeen issues of Preacher and the first thirty issues of Transmetropolitan. In 1996, Moore won the Eisner Award for best editor, for his work on Swamp Thing, Invisibles and Preacher. He edited the inaugural issues of Books of Magic, and both Books of Faerie miniseries ( with Cliff Chiang ), and returned to the main Books of Magic title for a far 20+ issues with Chiang in 1998. He besides edited several miniseries for both Vertigo and Vertigo ‘s sister depression Helix. Axel Alonso ( who would late move to Marvel Comics ) began his editorial career at Vertigo on Animal Man, Black Orchid, Doom Patrol and Hellblazer, and besides edited the open issues of Brian Azzarello and Eduardo Risso ‘s 100 Bullets and the concluding issues of Garth Ennis and Steve Dillon ‘s Preacher. Will Dennis was promoted from assistant editor program to editor upon Alonso ‘s deviation. He took over the edit of 100 Bullets and belated assumed the reins of Vertigo ‘s biggest strike series since Preacher, Brian K. Vaughan and Pia Guerra ‘s Y: The Last Man. Dennis has been responsible for bringing writers Brian Wood ( DMZ ) and Jason Aaron ( Scalped ) to Vertigo. He teamed writer Andy Diggle and artist Jock on their break series The Losers. Dennis edited Vaughan ‘s commercially successful graphic novel Pride of Baghdad. He was the editor program who presided over the Vertigo Crime credit line of graphic novels. Jonathan Vankin was hired as an editor at Vertigo in 2004 after previously writing two of the line ‘s Vertigo Pop miniseries and several entries in the Paradox Press “ big record ” series vitamin a well as several early non-comics works. His contributions to the trace as an editor have included the serial, The Exterminators and Testament. For the latter, he brought media theorist Douglas Rushkoff to Vertigo. Taking over editing of Hellblazer from Will Dennis, he hired acclaim scottish crime novelist Denise Mina to write the claim for 13 issues. He brought Harvey Pekar to Vertigo, where Pekar published the graphic novel The Quitter adenine well as eight issues of Pekar ‘s long-running American Splendor autobiographical series. Vankin besides edited the graphic novels Incognegro by Mat Johnson and The Alcoholic by novelist and essayist Jonathan Ames .

Writers [edit ]

Although the “ suppurate reader ” works of Alan Moore, Grant Morrison ( with Jamie Delano and Neil Gaiman ) under the DC imprint paved the means for Vertigo ‘s launching, neither author was part of the initial line-up. indeed, Moore never produced function for the Vertigo imprint — having refused to work for parent company DC in the late 1980s — although his DC-published Swamp Thing work and V for Vendetta reprint-maxiseries were subsequently collected as Vertigo-issued TPBs, while the Hellblazer solo entitle cope with the character co-created by Moore, but never written by him .

launch writers [edit ]

Grant Morrison, whose pre-Vertigo work on Animal Man and Doom Patrol was similarly retroactively branded as “ Vertigo ” when collected, besides wrote two issues of Hellblazer pre-Vertigo, which are collected in a 2005 trade paperback. Wrote three volumes of The Invisibles between 1994 and 2000. In accession, they had produced a number of miniseries including Sebastian O ( 1993 ), the Doom Patrol by-product Flex Mentallo ( 1996 ), Seaguy ( 2004 ), Vimanarama ( 2005 ), We3 ( 2004–2005 ) and “ Joe The Barbarian ” ( 2010 ) a well as the longer miniseries The Filth ( 2002–2003 ). They collaborated with writer Mark Millar on five issues of Swamp Thing in 1994, produced two one-shots — The Mystery Play ( 1994 ) and Kill Your Boyfriend ( 1995 ) — and contributed to respective anthologies. Of the eight debut Vertigo titles, half of them were the work of two authors. Neil Gaiman, who went on to become a New York Times best-selling novelist, came to prominence four years pre-Vertigo with the launch of The Sandman for DC Comics, a title that became the backbone of the initial Vertigo line-up. Gaiman ‘s ferment on the first base The Books of Magic miniseries ( besides released as a DC title, 1990–91 ) lay the groundwork for the long-running Vertigo Universe series of the lapp appoint, which featured young charming Timothy Hunter. Peter Milligan, who began his career at 2000 AD, before working concisely for both Pacific Comics and Eclipse Comics, contributed two titles ( one quarter of the initial line-up ; the like as Gaiman ) to the Vertigo launch. His Shade, the Changing Man was launched by DC and ran 70 issues ( July 1990 ) – # 70 ( April 1996 ), by which time it was under the Vertigo imprint. He besides wrote the creator-owned eight-issue miniseries Enigma ( 1993 ). Milligan and Brett Ewins ‘s Skreemer, written for DC pre-Vertigo ( 1989 ) was subsequently collected by Vertigo, while his work on the DC quality Human Target was released wholly by Vertigo as a four-issue miniseries ( 1999 ), an original graphic fresh ( 2002 ), and an ongoing series ( 2003–2005 ). Milligan besides produced the one-shots The Eaters and Face in 1995 for the “ Vertigo Voices ” sub-imprint, and a numeral of other miniseries, including The Extremist ( 1993 ), Tank Girl: The Odyssey ( 1995 ), Egypt ( 1995–1996 ), Girl ( 1996 ), The Minx ( 1998–1999 ), and Vertigo Pop!: London ( 2003 ). Garth Ennis ( Hellblazer ) and Jamie Delano ( Animal Man ) were two other plunge authors who went on to great success with Vertigo and elsewhere. Ennis ‘ best-known Vertigo function was his and artist Steve Dillon ‘s creator-owned Preacher, which ran for 66 issues and six by-product specials between 1995 and 2000, while Ennis ‘ prolific shape on Hellblazer rivals initial-series writer Delano. Ennis has besides written respective miniseries for Vertigo, including Goddess ( 1995–1996 ), Pride & Joy ( 1997 ), Unknown Soldier ( 1997 ), and Adventures in the Rifle Brigade ( 2001–2002 ), a well as eight one-shot War Stories between 2001 and 2003. Two of his pre-Vertigo works — True Faith ( serialized in Crisis ) and the four-issue DC/ Helix miniseries Bloody Mary ( 1996–1197 ) — have had collections released under the Vertigo label. Alan Moore, co-creator of the tire, chain-smoke, contemporary british charming John Constantine in Swamp Thing, hand-pick Jamie Delano [ citation needed ] to continue Constantine ‘s adventures as leading of the DC title Hellblazer ( 1988–2013 ), but Delano left that series in 1991 before the launch of Vertigo. Delano did write Vertigo ‘s Animal Man # 51–79 ( 1992–1995 ), and produced 19 issues of Outlaw Nation ( 2000–02 ) and the 12-issue miniseries 2020 Visions ( 1997–1998 ), plus two Hellblazer miniseries — The Horrorist ( 1995–1996 ) and Hellblazer Special: Bad Blood ( 2000 ). He besides wrote the one-shot titles Tainted ( 1995 ) and Hell Eternal ( 1998 ), the miniseries Ghostdancing ( 1995 ) and Cruel and Unusual ( 1999 ), contributed to anthology titles, and with Gaiman and Kwitney wrote The Children’s Crusade # 2. Rachel Pollack, who was writing Doom Patrol when Vertigo launched, continued on that claim until # 87 ( Feb. 1995 ), the final issues. She besides penned two “ Vertigo Visions ” specials — 1993 ‘s The Geek and 1998 ‘s Tomahawk. Nancy A. Collins, who wrote Swamp Thing # 110–138 ( Aug. 1991 – Dec. 1993 ), besides wrote the 1996 one-shot Dhampire: Stillborn .

late writers [edit ]

John Ney Reiber has produced most of his output signal for Vertigo, working entirely for the company between 1994 and 2000. Reiber wrote the first fifty dollar bill issues of the first ongoing The Books of Magic series ( May 1994 – July 1998 ), equally well as a number of miniseries, largely set in the wide Vertigo universe ( and particularly the Sandman/Books of Magic sections ) – Mythos: The Final Tour ( 1996–7 ), Hellblazer/The Books of Magic ( 1997–8 ), The Trenchcoat Brigade ( 1999 ), The Books of Faerie: Molly’s Story ( 1999 ). Reiber ‘s Shadows Fall ( with artist John Van Fleet ) was a self-created horror report grounded in a reality which made the fib “ all the more creepy than if the history was played out in the region and setting of superheroes. ” [ 41 ] Reiber ‘s Tell Me Dark, produced for DC, was collected in softcover by Vertigo, and he besides contributed to assorted anthologies. J. M. DeMatteis began his comics career on DC ‘s House of Mystery title over a ten before the formation of Vertigo, and by and by became one of the earliest dizziness creators thanks in big contribution to his proposed Touchmark projects. DeMatteis ‘ Mercy ( 1993 ) one-shot and miniseries The Last One both debuted in 1993, with reprints of two creator-owned Epic Comics projects following in subsequent years : his 1985–87 creator-owned maxiseries Moonshadow was reprinted between 1994 and 1995, with the miniseries Blood: A Tale seeing print again in 1996–7. DeMatteis besides wrote fifteen issues of Seekers into the Mystery ( 1996–7 ) for Vertigo. Mike Carey, having started his american english comics career with Caliber Comics in the mid-1990s catapulted to prominence in March 1999 with the first issue of his Sandman by-product miniseries Sandman Presents: Lucifer, which would lead to an ongoing series a year late and considerable praise and projects for Carey. A second Sandman miniseries, Sandman Presents: Petrefax ( 2000 ), soon followed, before the June 2000 debut of Lucifer. Neil Gaiman ‘s prefer Sandman by-product had not had an easy clock being published, due to its championship and chief character, but Carey was able to helm it for a Sandman-equalling 75 issues ( and a 2002 one-shot : Nirvana ) for 6 years. During this time, Carey besides wrote the hardbacked OGN Sandman Presents: The Furies ( 2002 ), over 40 issues of Hellblazer between 2002 and 2006 and a 2005 Hellblazer original graphic novel, All His Engines. He besides wrote a non-Sandman miniseries, My Faith in Frankie ( 2004 ), the comicbook adaptation of Neil Gaiman’s Neverwhere ( 2005–6 ) and the OGN God Save the Queen ( 2007 ). In 2007 he launched the ongoing series Crossing Midnight ( 2007–8 ) and the miniseries Faker ( 2007–8 ). Brian K. Vaughan’ sulfur first Vertigo work was a abruptly fib in 2000 ‘s Winter’s Edge # 3 anthology, which led to him relaunching Swamp Thing ( vol. 3 ) ( 2000–01 ), which lasted for 20 issues. In September 2002, his ( and Pia Guerra ‘s ) Y: The Last Man launched. It would ultimately run for 60 issues until March 2008. Vaughan besides wrote the 2006 OGN Pride of Baghdad for Vertigo. Ed Brubaker’ mho beginning Vertigo function was on the “ Vertigo Visions ” Prez one-shot ( 1995 ), and intermittent contributions to a couple of anthology titles preceded his Scene of the Crime ( 1999 ), effectively laying the groundwork for his belated crime comics. His following Vertigo visualize, the post-apocalyptic series Deadenders ( 2000–01 ), ran for 16 issues while Brubaker wrote for both Batman and Detective Comics for parent-company DC. His 2001 miniseries Sandman Presents: The Dead Boy Detectives told the story of some incidental Sandman characters, and was later retold by Jill Thompson in manga phase ( 2005 ). Brubaker subsequently took his Vertigo/crime sensibility to work from WildStorm, Icon and the mainstream DC and Marvel universes. Bill Willingham came to Vertigo after a overplus of little weight-lift knead in 1999 to launch his poker miniseries Proposition Player ( 1999–2000 ), and contribute to the Sandman population with a one-shot spy-spoof, Sandman Presents: Merv Pumpkinhead, Agent of D.R.E.A.M. ( 2000 ), and a unmarried consequence contribution to The Dreaming ongoing series. A second Sandman one-shot, The Sandman Presents: Everything You Always Wanted to Know About Dreams… ( 2001 ), besides led to a 4-issue miniseries, Sandman Presents: The Thessaliad ( 2002 ). Willingham ‘s best-known workplace soon followed, with the July 2001 debut of Fables ( with artist Lan Medina ). In 2004, he returned to the world of the Sandman with Sandman Presents: Thessaly: Witch for Hire, and 2006 saw the debut of the Vertigo-esque charming — but mainstream DCU style — Shadowpact and Fables companion series Jack of Fables. In July 2008, with Fables nearing a major turning distributor point in its run, Willingham relaunched House of Mystery as a Vertigo title with Lilah Sturges ( then known as Matthew Sturges ). other luminary people who have written for Vertigo include Kyle Baker, Warren Ellis, David Lapham, Mark Millar, Brian Azzarello, Paul Pope, James Robinson, and Brian Wood .

Artists [edit ]

several artists have besides produced a boastfully measure of celebrated work for Vertigo, several ( Steve Dillon, Pia Guerra, Eduardo Risso and Darick Robertson ) chiefly producing drawn-out runs on individual creator-owned titles ( in Guerra ‘s case, Y: The Last Man makes up about 80 % of her output to date ), [ 42 ] but others on a number of titles. Vertigo ‘s main universe titles, The Sandman, Hellblazer and Swamp Thing, have been particularly artistically diverse, and home to many talents, while the big number of creator-owned miniseries has seen big numbers of individuals producing work for Vertigo. Peter Gross worked on a pre-Vertigo issue of Swamp Thing and an early Vertigo publish of Shade the Changing Man ( # 36, June 1993 ) before penciling & inking a floor featuring Timothy Hunter in the “ Children ‘s crusade ” crossover voter Arcana Annual ( Jan. 1994 ). This led to a regular ink role on the newly launched Books of Magic series, taking over as regular penciler and inker with # 6 ; he would stay with the deed for most of its run, writing a well as drawing its final 25 issues ( 1998–2000 ). Gross besides inked Reiber ‘s Mythos one-shot, and provided full artwork on the first Books of Faerie miniseries ( 1997 ) and pencils on the surveil year ‘s The Books of Faerie: Auberon’s Tale ( 1998 ). After Books of Magic, Gross moved to Lucifer ( beginning with # 5, Oct. 2000 ) and penciled 56 of the remaining issues, american samoa well as inking a handful. He besides co-penciled 2005 ‘s Constantine: The Official Movie Adaptation and respective issues of Douglas Rushkoff ‘s Testament from 2006 to 2007. Dean Ormston has similarly produced a disproportionate measure of his artwork for Vertigo titles, including the lion ‘s share of the surrogate world Books of Magick: Life During Wartime series ( 2004–5 ). His first gear Vertigo work was as one of respective pencilers in the pages of Sandman # 62 ( Aug 1994 ), and in 1995 he penciled and inked Peter Milligan ‘s The Eaters one-shot. His artwork appears in most ( 14 ) of the non-Peter Gross issues of Mike Carey ‘s Lucifer, and he besides handled art duties for Caitlin R. Kiernan ‘s 4-issue The Girl who would be Death ( 1998–9 ). In addition, he has worked on a number of unmarried ( and jam ) issues of early Vertigo titles, including The Crusades, House of Mystery, The Invisibles, Mythos, Sandman Mystery Theatre, Swamp Thing and Testament between 1994 and 2007. Duncan Fegredo ‘s first major american work was on the 1991 Kid Eternity miniseries with Grant Morrison. A 1992 binding for Doom Patrol similarly fell in Vertigo territory pre -Vertigo, while Fegredo ‘s first “ true ” Vertigo make was besides on the joint-first new series released by the imprint : Peter Milligan ‘s Enigma. immediately after the end of the 8-issue series, Fegredo took over as cover artist on Milligan ‘s long-running Shade, the Changing Man ( issues # 42–50 ), collaborated with Milligan on 1995 ‘s one-shot Face ( Jan ) and then returned to cover duties on Shade, producing all but one of the remaining pieces of artwork. He produced pencils and inks for the miniseries Millennium Fever ( 1995 ) and ( with Milligan ) for Girl ( 1996 ). between 1997 and 2002, he contributed artwork on stand-in issues ( or to jam issues ) of Crusades, The Dreaming, Flinch, House of Secrets, The Sandman Presents: Everything You Always Wanted to Know About Dreams…, Totems, Weird War Tales and Weird Western Tales. In summation, his cover solve graced the 1999 miniseries Sandman Presents: Love Street, six issues of The Books of Magick: Life During Wartime and the first fifteen issues of Mike Carey ‘s Lucifer. Jill Thompson, although primarily known as an artist, has besides produced scripts for Vertigo, producing as writer-artist three Sandman tie-ins : The Little Endless Storybook ( 2001 ) and two manga retellings of storylines : Death: At Death’s Door ( 2003 ) and The Dead Boy Detectives ( 2005 ). between 1993 and 1994, she penciled the first base six issues of the ongoing Black Orchid series and the 4-issue miniseries Finals ( 1999 ). She has contributed ten-spot issues each to the high-profile Vertigo series Sandman ( penciling the arrant “ Brief Lives “ storyline, separate 7 of which was the first Vertigo issue ) and The Invisibles, and penciled four of the last five issues of Seekers into the Mystery. She has produced stand-in issues of Books of Magic, The Dreaming and Swamp Thing and contributed artwork to the anthology comics Fables # 59 ( in addition to a history in the hardbacked OGN 1001 Nights of Snowfall ) and Transmetropolitan: Filth of the City. Jon J Muth, a painter, has produced respective lavish volumes for Vertigo, including write, pencil, inking and coloring the 1998 one-shot Swamp Thing: Roots. Primarily, his Vertigo output signal has been in collaboration with JM DeMatteis, an exit of Blood: A Tale, the maxiseries Moonshadow ( and its finale, Farewell, Moonshadow ( 1997 ) ) and three issues of Seekers into the Mystery. Muth painted Grant Morrison ‘s The Mystery Play ( 1994 ) and the 2002 Lucifer: Nirvana special for Mike Carey. His work besides effectively ended Neil Gaiman ‘s Sandman series, Muth painting offspring # 74, the final exit of The Wake storyline, and second-to-last chief emergence. The artwork of Charles Vess has infrequently but notably accompanied the words of Neil Gaiman on Vertigo projects, including the 4-issue Stardust ( 1997–8 ) miniseries, late reprinted as an exemplify hardbacked book. Vess ‘ exercise can besides be seen in the two Shakespeare adaptations in the pages of The Sandman, the first of which ( pre-Vertigo ) won the comic and duo the World Fantasy Award for Best Short Story, and the final of which was besides the final ( 75th ) publish of the series. Vess besides contributed a fib to the Fables OGN 1001 Nights of Snowfall, illustrated a Books of Magic overlay and produced an issue of The Dreaming ( 2000 ). Sean Phillips earliest american english comics work was in the pages of pre-Vertigo Hellblazer, and in May 1993 he became one of the early on Vertigo artists by illustrating ( with assists from Paul Peart and Sean Harrison Scoffield ) the entire 16-issue run of Kid Eternity ( 1993–4 ). He drew the covers for twenty-three of the twenty-five issues of the first The Invisibles serial and besides returned to Hellblazer ( switching from artwork and covers to just covers after around 20 issues ) between 1995 and 1998. He drew three issues of Shade, the Changing Man ( 1994 ), the one-shot Hell Eternal ( 1995 ) and the miniseries The Minx angstrom well as inking most of Michael Lark ‘s function on Scene of the Crime. He penciled four issues of the concluding Invisibles series between 1999 and 2000, produced covers for the Hellblazer Special: Bad Blood miniseries, and shared art chores with John Bolton on the 2001 miniseries User. John Bolton, another frequent Gaiman confederate has rarely worked with that generator immediately for Vertigo, but has utilised his characters, including in the OGN Sandman Presents: The Furies and the Books of Magic lead-in Arcana Annual. He besides contributed to the Sandman Mystery Theatre annual, and the Fables OGN 1001 Nights of Snowfall. With Sean Phillips, he produced the artwork for Devin Grayson ‘s 2001 miniseries User, and individually fully illustrated the OGN ‘s Menz Insana ( 1997 ) and God Save the Queen ( 2007 ). other artists include Chris Bachalo, Mark Buckingham, Guy Davis, Phil Jimenez, Jock, Warren Pleece and Liam Sharp .

Cover artists [edit ]

Inarguably the name most associated with Vertigo ‘s report output is the artist who provided all of the covers to the Vertigo ‘s highest profile series ( The Sandman series ( 1989–96 ) ) : Dave McKean. The first 46 of these covers were created for the DC imprint, but McKean ‘s employment besides includes a issue of Sandman-spin-off issues, miniseries and galleries. These include the two Death miniseries and all 60 issues of The Dreaming ( 1996–2001 ). He provided the first 24 DC published covers to Hellblazer, and all 22 covers to the 1993-5 Black Orchid Vertigo series ( which spun off from his ( and Gaiman ‘s ) 1988 DC miniseries ). He produced the first binding for Sandman Mystery Theatre and his knead was featured in a 1997 artbook incorporating his Sandman covers, “ Dust Covers : The Collected Sandman Covers, 1989–1997. ” In addition, McKean ‘s artwork besides graced the inside pages of the public military service comedian Death Talks about Life ( 1994 ), an issue of The Dreaming ( # 8 ), two issues of the DC-published Hellblazer ( # 27 with Gaiman and # 40 with Delano ) and his and Neil Gaiman ‘s OGN Mr Punch ( 1994 ). The duet ‘s Black Orchid was similarly produced for DC, but was retroactively deemed a Vertigo title. Brian Bolland and Glenn Fabry have besides produced a big number of iconic covers for the Vertigo telephone line, Fabry probably being best known for his sour on one title : Garth Ennis and Steve Dillon ‘s Preacher ( and the by-product miniseries ). Bolland, one of the very earliest british creators whose workplace was brought to America, drew the first 63 covers for Animal Man, by and large for DC, but besides the first six Vertigo issues before handing over to a succession of other artists. Bolland besides drew the cover for Vertigo ‘s first Doom Patrol topic and for the entire second and third base volumes of Morrison ‘s Invisibles ( 1997–2000 ) ( and in addition provided artwork for the TPB collections of Morrison ‘s Doom Patrol run, and all volumes of The Invisibles ). Bolland provided covers for three issues of Mark Millar ‘s Swamp Thing race ( 1995 ), and miniseries including Vamps ( 1994–5 ), both Vertigo Tank Girl ( 1995–6 ) miniseries and Blood + Water ( 2003 ) ampere well as the one-shot Zatanna: Everyday Magic ( 2003 ). Bolland besides wrote and illustrate stories for the anthology titles Heartthrobs and Strange Adventures ( 1999 ) and OGN 1001 Nights of Snowfall, deoxyadenosine monophosphate well as providing a brood each for the Gangland and Winter’s Edge anthologies. With emergence # 12, Bolland took over report duties ( from Fables traverse artist James Jean ) on Fables by-product Jack of Fables, which he continues to produce as of June 2008.
Fabry, in addition to his Preacher covers, provided covers for Ennis ‘ miniseries Adventures in the Rifle Brigade: Operation Bollock ( 2001–2 ) and most [ 43 ] of that authors first run on Hellblazer ( 1992–4 ) — which included the inaugural Vertigo offspring — a well as his return to the claim in 1998–9. In addition, Fabry has besides penciled a copulate of short Hellblazer stories for respective specials, and drew the covers for the Hellblazer: The Trenchcoat Brigade miniseries. He contributed to the multi-artist Transmetropolitan special “ I Hate It here ” and provided three covers each to the ongoing Transmetropolitan ( 2002 ) and Swamp Thing ( Vol. 3 ) ( 2001 ) ; covered the complete Scarab ( 1993–4 ) miniseries, all 19 issues of Outlaw Nation and one write out each of the anthology titles Gangland, Heartthrobs and Weird War Tales. Between 2005 and 2006, Fabry amply illustrated Mike Carey ‘s adaptation of Neil Gaiman’s Neverwhere, having previously collaborated with the man himself on a fib in the 2003 OGN Sandman: Endless Nights. At the start of 2008, he provided a cover for an issue of Exterminators, before taking over from Lee Bermejo as ongoing cover artist on, again, Hellblazer. early celebrated cover artists include Dan Brereton, Tim Bradstreet, Duncan Fegredo, James Jean, Dave Johnson and J. G. Jones .

Publications [edit ]

Adaptations in early media [edit ]

movie [edit ]

television [edit ]

Video games [edit ]

See besides [edit ]

Notes [edit ]

References [edit ]


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