The Official Vertigo Thread

I've been wanting to get into Hellblazer having some new interest in the John Constantine character...could I just jump on the book or do I need to read any certain issues beforehand?
 
I'm also excited for The Eaters collection. More Milligan is also a good thing. Hopefully they get around to releasing Enigma soon.

I've been wanting to get into Hellblazer having some new interest in the John Constantine character...could I just jump on the book or do I need to read any certain issues beforehand?

I wouldn't. Milligan has been building up a story for a while. I guess 275 would be a decent jumping on point but I would start with his first trade.

Also, I would recommend Ennis's and Delano's runs.
 
http://www.comicbookresources.com/?page=article&id=33443

Here's Vertigo's panel from SDCC. There's some interesting stuff, but honestly, it felt a bit on the lackluster side. Still, some stuff announced that sounds like it could be good. Pretty sure they messed up the Unwritten numbers, though; that series is way past issue 10.


Welcome to CBR’s live coverage of San Diego’s Comic-Con International where the Vertigo Editorial Panel is now underway. With Vertigo Executive Editor Karen Berger hosting, joinging the longtime editor are the creative minds behind many of Vertigo Comic’s big titles: writer Scott Snyder (“American Vampire”), writer Jeff Lemire (“Sweet Tooth”) artist Mike Allred (“iZombie”), artist Mark Buckingham (“Fables”), Les Klinger (“Annotated Sandman”) artist Rebecca Guay (“A Flight of Angels”), and writer/artists Colleen Doran (“Gone To Amerika”) and Bill Willingham (“Fables”).
Starting of the panel, Berger showed slides of upcoming comics and teased the ending of “Scalped” and Allred told audiences that he got inspiration for the next “iZombie” cover from a men’s room wallpaper at a music club. Revealing the full range of Scott Snyder’s “American Vampire” covers, Snyder told the audience that the covers, when put together, show the full cast of the comic.
Artist Rafael Albequrque from “American Vampire” joined the group onstage and told listeners that the five covers also all interlocked, and showed an image of all five “American Vampire” covers side by side. Snyder then touched on the miniseries “American Vampire: Survival of the Fittest” saying he wanted to use the series to expand the vampire world.
“It’s also the completion of the story of Cash and Felicia and Cahs’s son Gus, who is actually named after Gus from ‘Sweet Tooth,’” said Snyder.
“It’s Scott and my anniversary,” joked Lemire.
Assistants then handed out a poster for one of Vertigo’s newest original graphic novels: “Marzi” as story about a girl growing up behind the iron curtain. Showing pages on the big screen, Berger said the series showed, “What’s it is actually like growing up in a repressed society,” said Berger. Despite the darker tone, Berger said it was not an adult book and would be marketed for younger readers as well as older.
Writer Derek McCulloch came in and apologized for artist Colleen Doran being unable to attend the panel before introducing their new joint comic, “Coming to Amerikay.” Berger then showed an image for the first issue of “DMZ: The Five Nations Of New York.” Set to end this December, the audience broke into applause when Berger asked if anyone had read the series or “Northlanders,” Wood’s other Vertigo series.
The audience cheered louder, however, when Berger introduced the cover for “Fables” issue #107. According to Willingham, “We left Sleeping Beauty years ago in the Imperial homeworld where she put the whole…Empire to sleep all at once.” Saying that in #issue 107 Willingham will catch up with Sleeping Beauty once again. However, Willingham said the issue ends on a cliffhanger which will not be continued in “Fables,” hinting that in order to find out where the story ends fans will need to attend tomorrow’s “Fables” panel.
Buckingham then showed the cover image of “Fables” #108. ”This is a return to watercolor washes in the comic which we did in issue #100,” Buckingham told the clapping audience before saying that he modeled Rose Red after his wife.
Showcasing Guay’s new series “A Flight of Angels, Guay expanded on what the series is about. “It came out of wanting to explore the theme of fallen angels in a dark, edgy way I hadn’t seen before,” said Guay. The cover showcasing two angels, Guay said the series begins with a group of fairies who find a fallen angel. Holding a tribunal over what to do with it, Guay said what follows is a series of vignettes on love, loss, and Biblical stories.
Berger then flipped though the art for the various stories, written by multiple different writers but all illustrated in incredibly different styles by Guay.
“It’s just lovely, lovely work,” Willingham praised Guay’s work before saying he is one of the writers in “Angels.”
“It’s the original art, actually the pages are going to be larger than the absolute version and in grayscale…so we didn’t reduce the art too much,” said Klinger.
Another newcomer, Max Collins, spoke about his graphic novel “The Road To Perdition.” Saying he did the second “Road To Perdition” with a different artist, Collins said he decided to come “full circle” to do a third and last “Perdition.
“All we wanted to do is not superheroes and be able to understand and comprehend what was going on!” said Collins, touching on the troubles he faced when first publishing the story back in the ‘80s. He added, “It’s a solid end to this story…we finally get to the end of this revenge trail.”
The audience applauded once more when Berger brought up images from Grant Morrison’s new collections of “We3” and “Joe The Barbarian,” the latter of which will be out in October. Berger then brought up the cover for an upcoming issue of “The Unwritten” which will actually be about a female writer who has to hide her gender in order to write. In November, Berger revealed they will ship “Unwritten” twice a month: the whole number issues (issue #10, issue #11) follow Tommy as he takes the Cabal down while the .5 issues (#10.5, #11.5) will show the history of the Cabal and other supporting characters.
Berger then said that also in October they will be debuting a new Halloween anthology and in a few months Vertigo will be announcing a brand new series. The editor then said writer Brian Azzerello will return to Vertigo with “Spaceman,” a story set in a post-apocalyptic world.
Vertigo editor Shelly Bond then took the microphone to answer the “age old question: does John wear boxers or briefs?” joked Bond. Showing the cover for the next “Hellblazer” cover for issue #283 which shows Constantine in nothing other than flame boxers. The next arc follows the “heinous things to all of the people who come in contact with the people who come into contact with John’s trench coat,” after Johns’ niece puts it on eBay, told Bond.
Then Bond gave away a real trench coat signed by Vertigo artist and writers to a fan who was able to identify how many times John Constantine has been married. The answer? One.
“Put it on!” Bond demanded, leading the applause as the fan modeled the coat, which also features a drawing of Constantine on the back. Berger then opened the floor to questions. Of course, the first question was whether Vertigo was planning on ending “Hellblazer,” Vertigo’s oldest series. The answer was a resounding no.
“As long as they want to keep doing it, as long as people keep reading the books…we’ll do it,” said Berger.
An audience member then asked about whether there is truth to the rumors on a “Fables” TV show or video games.
“Yes to there is some truth to the rumors,” said Berger, then said nothing was finalized at that moment. Another fan wanted to know what Willingham thought about the resurgence of fairy tales in TV.
“I trademarked all fairy tales!” joked Willingham, then seriously answered that it would be “hypocritical” of him to be upset about others adapting different fairy tales.
“The success and popularity of ‘Fables’ I think has helped,” added Buckingham.
A female fan asked Lemire about themes in “Sweet Tooth,” specifically about both animal and human rights. “That is in there, but…it’s not going to be preachy,” said Lemire, hinting that the Project Evergreen story will have a twist coming up.
Berger then ended the panel with a big thanks to “Everyone who read our work” as the panelists onstage stood and clapped.
 
Well, guess there's still stuff coming:

http://vertigo.blog.dccomics.com/20...rtigo-to-publish-black-orchid-deluxe-edition/

In Spring 2012, Vertigo will publish a BLACK ORCHID Deluxe Edition from The New York Times Bestselling author Neil Gaiman (Sandman) and innovative artist Dave McKean.
BLACK ORCHID is a haunting exploration of birth, death and renewal. After being viciously murdered, Susan is reborn fully grown as the Black Orchid, a hybrid of plant and human, in order to avenge her own death. Now as this demigoddess attempts to reconcile her human memories and botanical origins, she must also untangle the webs of deception and secrets that led to her murder. Beginning in the cold streets of a heartless metropolis and ending in the lavish heartland of the thriving Amazon, this book takes the reader through a journey of secrets, suffering, and self-rediscovery.
Currently out of print, this new Deluxe Edition hardcover features lush painted artwork by McKean and will make a gorgeous addition to your Neil Gaiman collection.


Sounds interesting.
 
http://www.newsarama.com/comics/sdcc2011-unwritten-goes-twice-monthly-110722.html

Little more info from Gross and Carey about the twice monthly story for Unwritten. The story with be "Tommy Taylor and the War of Words", with the even number issues focused on the main narrative and the .5 issues a back-up story focusing on the history of the cabal.

With mystery-filled stories like Vertigo's The Unwritten, fans are always looking for more answers.
Beginning in November, they're going to get them.


Double time.
As announced during Thursday's Vertigo panel at Comic-Con International, The Unwritten, the hit ongoing series by Mike Carey and Peter Gross, will start shipping twice a month for a 10-issue event in November titled, "Tommy Taylor and the War of Words."
But what's really unusual about the event is how the stories will be structured and numbered. The first issue will be a story in the main narrative, then it will be followed by a one-off back-story issue. Each issue will be numbered in "half" increments.
So after The Unwritten #31 with a main narrative story, readers will get The Unwritten #31.5 focusing on a back-story. Then #32 will return to the main narrative, with #32.5 following with a back-story.
Guest artists will help out on the first ".5" issue, as well as the following back-stories as needed — although no artists have yet been named.
According to DC, the special .5 issues will see "Tom's crusade played out against the backdrop of the cabal's sinister secret history and will delve deep into the dark past of some of the series' major players. When it's over, very little will remain Unwritten."
This isn't the first time Carey and Gross have inserted one-issue back-stories into the main story of The Unwritten, and past spotlights have been some of the more well received issues of the series.
Which major players get the spotlight in the .5 issue? What answers might be revealed? And what's the idea behind the upcoming comic-themed story? We talked with Carey and Gross to find out.
Newsarama: Extra issues shipped between regular issues? Was this a case of you having so many ideas about the back-story that you couldn't cram it all into the main story?
Peter Gross: Yeah, something like that. We kept talking about little back-stories we'd like to do. And we've always liked doing our one-off issues. They've always been really popular with everyone. And we have a bunch of other back-story things we want to do, but every time we talk about getting them in there, we realize it would slow the main storyline down.
I was frustrated with it, and I started bringing it up with our editor. And I said, "Wouldn't it be great if we could do a few issues of these stories somehow staggered so it wouldn't slow down the main story's pace?" And they said, "Let's do it!"
Mike Carey: The other fact that fed into this was that we'd already been discussing with Karen [Berger] the possibility of doing a mini-series. A freestanding mini-series along with the regular monthly book. We got as far as doing quite a bit of planning for that.
Then suddenly it hit us that if we were going to have those extra issues, we could do something a lot more ambitious with them.
Gross: We can give back-story to the main story in these two-week installments, without slowing down the main story. I just think it's a really great idea, and hopefully it's going to work really well.
Nrama: Yeah, but it's twice as much work for you guys, isn't it?
Gross: More like four times as much work, probably! [laughs] Everything on The Unwritten seems to be twice as much work on top of twice as much work.
Carey: Yeah, it's kind of labor-intensive. But fortunately, we love it. And we're developing new ways of dealing with it.
Gross: Also, like we did on some of the other one-offs, we're going to bring in artists doing finishes over my artwork on a lot of these issues, and I love doing the layouts and having people come in and do a completely different style of art over that. I love seeing my skeleton being all dressed up differently. So this is exciting, for me to get this blast of different artists coming in.
Also, the first of the one-offs is actually going to have some guest artists doing full art, just because there was no way for me to fit it into the schedule. So there will be some surprise artists working on the first issue.
Nrama: Does that mean you can you be a little selective with what type of style you want from what artist, since these comics are one-issue stories?
Carey: Yes. That's part of the main thrust of this event, and there's going to be different storytelling approaches as well. The one-off issues that accompany the main narrative will have a very different vibe for each of them. And in some cases, they'll be shorter than one issue, because some of the issues break down into shorter narratives within that. So there are a lot of experimentations, with a lot of different ways of coming at the story.
Nrama: Even though the main premise behind Tom's story is revealed at this point, there is still a lot of mystery, and there seems to be new questions added every time you answer one. Are you going to clear up some of the mysteries with these .5 issues?
Carey: We are at the point now where there are very, very few completely new elements that are going to be added into the mix. From now on, there will be more explanations and more reveals about what's already there than new stuff thrown in. So this will give us, for example, an explanation for Mrs. Rausch, it will give us an explanation for Wilson, and it will give us a partial explanation for Pullman, although there are more reveals in some cases to come for these characters.
We'll have a much better sense of who they are, and how they know each other, and what their agenda is.
Nrama: Was this something you'd seen done before, or was it something you and your editor came up with, to do a series of ".5" issues to provide back-story?
Gross: I don't know if it's been done before, but it really just came about as a result of wishing we could tell back-story while keeping the same narrative.
Carey: I don't think it's been done before in quite this same way. But we're very enthusiastic about the structure. We think it works perfectly for what we want to do.
Nrama: Now your fans will expect you to do this all the time.
Gross: I think if we survive this, it will be a miracle! And now you know why neither of us is in San Diego this year.
Nrama: When you came up with Unwritten, it had a finite ending, right? Does this change when that's going to happen, or was it always loosely planned?
Gross: We've always had an end point in mind and we've never know exactly how long it's going to take to get there. We have a lot of mileposts set up along the way that we know we're going to get to, but we don't know if those will lead to richer stories that we end up wanting to explore.
We have a set-up with The Unwritten where we can tell so many different types of stories. I'm always telling Mike, "Let's go a little longer!" I'm afraid that when we're done with it, the next thing won't have as much potential to do the kind of stories we want. So as long as it's fresh, I'm always wanting to keep going and not leave stories on the table.
Carey: We've always seen it as having a finite lifespan, and roughly the same lifespan as a Lucifer or Sandman, with maybe 60 to 70 issues. Maybe a little more than that. But yeah, as Peter said, you reach a point where, when you decide to tell Story A, you're cutting out B, C, and D, because you just don't have the room to do everything.
So the beauty of doing this event is that we're choosing to tell these stories now — some of them that would have been told later and some that would have never been told in this form.
Gross: With some of them, we had events coming up with the main narrative that meant the stories either had to be told now or not at all.
Carey: Yeah, because things will move on past that point.
Nrama: In the main narrative, you have a storyline starting next month that visits the early day of comics, right?
Carey: Yeah. It's called "On to Genesis," which is kind of a silly pun, because the single word "ontogenesis" meaning the birth of an individual entity is kind of discussed in the story, is central to the story.
Gross: I don't know that we can say very much about that story. It really explores the roots of Wilson's plans and the genesis of some of his ideas and how he got involved with Tom.
Carey: There's a question of what Tom is or who Tom is, because it's revealed that whatever he is, he wasn't the first. There is a precedent. Surprisingly, it's not prose fiction. It's in comics.
Nrama: Well, that kind of makes sense, because that's where Tom physically is, within a comic. And see, that starts making my head hurt, when I go there.
Carey: [laughs] Yeah, it does get a bit metatextual at that point.
Gross: I hope we're careful about that, because one thing I hate is when the artist and writer show up in the comic and tell you that it's a comic you're reading. I swear to God we will never do anything like that. But we're getting close sometimes, aren't we?
Carey: It's a long way from that, though. The springboard for it all is Tom investigating this character who is contemporary with the first Superman story, and actually predates Superman a little. He's one of the earliest costumed heroes, who Wilson seems to have had some kind of a connection with.
So in the present day, we have Tom's forensic investigation of all this, but we're also jumping into the past to show what actually happened to Wilson, why it was important to Wilson, and why, ultimately, it's important to Tom.
Nrama: With the .5 issues, how will you collect them?
Gross: We're discussing that now, actually. We could either publish them together, where you read the main story, then read the one-off, then go back to the main story. Or we could split them up.
We have a title for the whole event. It's "Tommy Taylor and the War of Words."
Nrama: Then to finish up, is there anything else you want to say to your fans?
Carey: Just that I can't believe that we've been nominated for a Hugo Award. That makes me so proud.
Gross: Yeah, the reaction to the book the whole way has just been fabulous. It's been really rewarding. This is probably the first time where I feel like it's just gone beyond my expectations. Usually I probably have unreasonable expectations about how my book will be received. But this has just exceeded them.
 
Scalped to end with issue 60.

Only ten more issues left of one best comic series of the past few years. I'm going to miss it. I'm not sure if I have it in me to actually buy a Wolverine book to fill the Aaron void.
 
I'm looking forward to the Flight of Angels book that is coming out in November after listening to the Vertigo panel podcast.
 
Information on Coming to Amerikay.

Robot 6 said:
Described by Doran as a story of Irish immigration to the United States, her writer Derek McCulloch spoke at length about the book at Comic-Con. “It’s a story about people emigrating to America from Ireland over the course of 140 years,” said the writer. “It’s a great big historical epic with a crime story and a ghost story and a couple of love stories and all kinds of things in it.”
 
i think vertigo should do a line where they have mainstream dc characters with vertigo comics. for instance i would like to see a batman vertigo comic set in the 30s and 40s with little high tech gadgetry and a gray and black cloth suit. it would be pretty dark.

i also think a vertigo version of justice society would be cool
 
This isn't directly related to Vertigo, but there was a panel recently with many of the 'British Invasion' writers talking about the industry. I won't go into detail about it, but Garth Ennis did make a statement that made me wonder:

Ennis concluded, "At DC, the Vertigo contracts are being chopped down to where they're almost unattractive. Vertigo had a good run. But hopefully it kicked the door down to open the way for independents. There isn't much for the Brits anymore. We had our run."

Not sure how much of it is legitimate, and how much is just trademark British cynicism, but this did make me curious. The amount of content Vertigo is putting out does seem to be slimming a bit, and I wonder if this contact shift is part of that?
 
Ditch Morrison and Davis and put on Moore and Ellis- The League of Disgruntled British Writers Panel is a go.

I wouldn't doubt it if it's true. I doubt Ennis is going to have anything to do with DC after what happened with The Boys. I wonder if this is the reason why Severed is over at Image.
 
Yeah, I was thinking something similar. Snyder started out at Vertigo and is now looking like a sure stay for the big leagues with writing Batman. Pretty odd that one of his creator-owned series isn't with Vertigo.
 
Though, speaking of, I happened to see this on CBR this mourning. I wonder if this also has something to do with it as well

24zyvl0.jpg


If WB has controlled enough over your creator-owned material to be able to do something like this, feels like a lot of the point is lost in some ways.
 
AMC couldn't afford DMZ. All of it's money it's been smoked and boozed away by Mad Men.

If people are avoiding Vertigo to launch their properties then I could see why. If Severed is launched into a television series or movie, which I can easily see happening, then Snyder and co. have full control of everything and a bigger slice of royalties.
 
I love me some Fables. WB needs to get on making that into a tv show or movie.
 
AMC couldn't afford DMZ. All of it's money it's been smoked and boozed away by Mad Men.

Psst, they had enough money for zombies.

If people are avoiding Vertigo to launch their properties then I could see why. If Severed is launched into a television series or movie, which I can easily see happening, then Snyder and co. have full control of everything and a bigger slice of royalties.
I could see it, really. Brian Wood posted in that thread and said that the deal was, in a nutshell, that WB instantly auctions your property when you sign with Vertigo. You get a commission fee and all, but the control of stuff like movies and tv shows are pretty much their's. I guess it's kind of a compromise to the production and marketing you get from Vertigo over purely indie companies, but it does also feel like some of the point is lost.

Are you a Fables fan Tron Bonne

No, not really.

http://www.newsarama.com/comics/azzarello-spaceman-110815.html

Azz on Spaceman.

100 Bullets has come to an end, but the creative team of Brian Azzarello, Eduardo Risso and Dave Johnson are now reuniting for a new title under the Vertigo banner: Spaceman. Newsarama recently had a chance to sit down with Brian to talk about this new grim vision of the future.


Newsarama : First off Brian, how did it happen that the 100 Bullets team is working together again?

Brian Azzarello : How did it happen? 100 Bullets made it happen, we liked working together. Isn't that strange in comics? There are people who actually like working together. We did 100 Bullets, we took a break, but now we're putting the band back together!


Nrama : Was it that easy? Did you just call them up and say, 'Hey! I've got an idea for a new book! Let's get back to work!”


Azzarello : Yeah, pretty much. Actually, I think I sent Eduardo four ideas, [asking] 'Which one do you want to do?' And he said 'Let's do them all!' So, [I replied] 'ok we're going to do Spaceman first.

Nrama : And special challenges that you and the team encountered shifting to a new book with a new premise?


Azzarello : Yeah, 100 Bullets was pretty much based in our world here. If you needed reference of a particular street in Chicago I could go shoot it for [Eduardo] and send it in an e-mail and he's got a picture of that street. In Spaceman we are world-building. There is not a lot of reference for some of the things we are doing. [It takes place in] the future.



Nrama : Was this a new experience for you in writing? How would you rate the challenge of world-building?


Azzarello: It's a challenge but it's real fun. Its been really reinvigorating to do it. We are building a new world and a new language.



Nrama: What can you tell us about this new world?


Azzarello: [In Spaceman] a lot of the predictions about climate change have come true. There have also been a lot of economic disasters and government upheavals, so it's kind of a bleak place. But humanity, and human beings, still exist. The internet is still fine, so everyone can talk to each other and obsess on whatever it is they shouldn't be obsessing on. In the middle of this world is our main character, his name is Orson. He is a human who was genetically engineered [by NASA] to make the long journey to Mars. He's big, he's got dense skin, denser bones. He can withstand the trouble that a long space flight would have on a regular human organism. He can take it. The trouble is, there is no NASA anymore. What happened was when he was created, someone got wind of it and screamed bloody murder because NASA was 'playing god.' So the program was dismantled. So here is a man who's build for Mars and can't get there.

Nrama: What are some more details about Orson, he's got thick skin, is he bullet proof? What does he do now?


Azzarello: He's not superhuman, he's got trouble. He's big, his joints constantly ache, he's so dense, his bones are so large. He's in a lot of pain, he does a lot of drugs. [Otherwise] he's just like anybody else, trying to find his way on Earth, just like we do. What we've done is not science-fiction, it's science-hell.


Nrama: Science-hell?


Azzarello: That's a good tag line [laughs].


Nrama: We’ve got a world and a character, what's the main conflict in the book, his struggle to live on Earth?


Azzarello: Yes, struggle to live on Earth. Also there is a kidnapping that he gets involved with, and blamed for. He will be running from the law at some point...I want you to read the book!


Nrama: When can I?


Azzarello: You will be able to read the book at the end of October. Last week of October. The first issue is only a dollar, no one has an excuse not to by it, unless they don't have a dollar. Everyone has a dollar, no excuses.


Nrama: To aid in recommendation, is there a particular piece of work in any media you liken Spaceman to?



Azzarello: Blade Runner. If you like Blade Runner, you are going to like Spaceman.


Nrama: 100 Bullets was a compete story, is that going to be the case for Spaceman?


Azzarello: It's not going to be one hundred issues! [laughs] I'm never doing that again! This first year you are going to see nine issues [over nine months]. The way were are kind of approaching this is like a television series. See where the story goes then take a break, do one of those other four ideas, and then come back to it. There is a beginning, a middle and an end, it's revolutionary in comic books isn't it? [laughs]
 
Psst, they had enough money for zombies.

It seems that AMC is not happy with having to spend money that delivers their highest ratings. One of their brilliant production notes- Do we actually have to see the zombies?

I could see it, really. Brian Wood posted in that thread and said that the deal was, in a nutshell, that WB instantly auctions your property when you sign with Vertigo. You get a commission fee and all, but the control of stuff like movies and tv shows are pretty much their's. I guess it's kind of a compromise to the production and marketing you get from Vertigo over purely indie companies, but it does also feel like some of the point is lost.

I thought the point was to make a comic. Not a launch pad for a television show/movie. :oldrazz:



I've been sold since I heard the creative team and I'm very excited that they have four other projects lined up.
 
It seems that AMC is not happy with having to spend money that delivers their highest ratings. One of their brilliant production notes- Do we actually have to see the zombies?

Wow, didn't know that :dry:

I thought the point was to make a comic. Not a launch pad for a television show/movie. :oldrazz:

Of course, I think making a comic should definitely be the highest priority, but one of the major appeals of having creator-owned content is that you have the ability and freedom to pursue that option, especially when it comes to you directly like in DMZ's case. To take that away seems...I don't know, counteractive, I guess. Then again, a movie/TV deal is always a long shot anyway, and WB is buying for the option, even if it'll rarely get used. And there's still the more lion-share royalties that's the bigger half of it being creator-owned.

Still, I can't help but wonder if that's part of what Ennis was talking about in Vertigo contracts becoming 'uncool'. Unless that's just something that's always been that way, I dunno.
 

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