#Jamie Delano Interview

[screamingeyepress]

Jamie Delano Talks Hellblazer, Writing, and Creative Freedom in Comics

From the Early Days of John Constantine to Novels and Creator-Owned Projects

Jaimie Delano is a British comics writer. He was part of the first post-Alan Moore “British Invasion” of writers which started to feature in American comics in the 1980s. Best known as the first writer of the comic book series Hellblazer, featuring John Constantine.

How did you get started in Comics?

Around 1980, I was looking for a way to stop being a taxi driver and realise my long-held ambition to earn a basic living through word-manipulation when a friend suggested comics might be a route to that objective and offered me some introductions to editors in the business.

When you started writing Hellblazer was it hard coming up with plots for a monthly horror series?

Writing – in any format on any title – is always hard, and anyone who says it isn’t is a liar. Blank-page terror, with deadlines looming, is a burdensome condition in which to place oneself. Writing is an awful chore… just one damn word after another until you reach The End. Which of course you never do. At least not while you’re still breathing.

What do you think of the adaptions of Hellblazer?

My old mum always said: If you can’t say anything, it’s better to say nothing at all. I watched the Keanu Reeves movie and didn’t like it; so I didn’t watch the TV stuff. People I respect have told me it was decent though.

Read On: https://www.screamingeyepress.com/interviews/jamie-delano/

[oswincoleman]

In the is new interview for Rolling Stone, Allan Heinberg talks about creating season 1 of The Sandman, and the plans for the future.

I particularly want to highlight the following two segments:

RS: You changed John Constantine — the same character played by Keanu Reeves in 2005’s Constantine — to Johanna Constantine in this show, played by Jenna Coleman. But ironically, the episode you did with her felt like the best adaptation ever of the John Constantine Hellblazer comic books.

AH: Oh, thank you. We were able to do the original John Constantine origin story [an exorcism gone wrong] in Newcastle. That’s all stuff that [original Hellblazer comic-book writer] Jamie Delano put in the comic. So as much as the character is not the same, I felt like we were very faithful to the spirit of the book. In the earlier iterations of that episode, we had the whole Hellblazer supporting cast — Chas and Renee were both in it, gender-swapped, like so. So we had a blast, and Jenna is so amazing in it that it left us all just hungry for more of both Lady Johanna and contemporary Johanna Constantine.

RS: How many seasons would it take to tell the whole story from the comic books?

AH: In success, we could talk about doing all kinds of things. If we’re able to do more standalone anthology issues, then it would take longer than if we were just staying on Dream’s track. And we’d love to do more Johanna Constantine in the present. The Corinthian could return, because he’s not really in the comic again – except for one cameo – until later. So it depends on what people respond to, and how many viewers we have and how much success we have as a Season One show. It could go on for quite some time, if we had the viewers.

[weirdletter]

Rituals & Declarations, Issue 2 of 4, edited by Paul Watson, Spring 2020. Cover art by Maria Strutz, info: ritualsdeclarations.bigcartel.com.

Limited run small-press magazine about the Weird, published quarterly during 2020. Issue 1 out in January, issue 2 due early April.

Contents: A Thousand Furrows Deep – by Natasha Kindred On Old English Medical Remedies: an interview with Sinéad Spearing – Interview by Madeleine Boyne Acid Renaissance: Albion’s True Standard Advanced – art update by Paul Watson The Cairn: the Maggie Wall Monument and the Witch in the Scottish landscape – by Allyson Shaw Finn of the Islunds – Fiction by Jamie Delano The Burryman of South Queensferry: the Past within the Present – by Grey Malkin Cuckoo – Fiction by Sylvia Warren To Be Loved by the Trees: Living with Nature in the Modern World – by L B Limbrey Cunning County by Emily Banting – Hookland Fiction by David Southwell, with art by Maria Strutz Masquerade – Fiction by Kate Hawes

[mondofunnybooks]

MONDO FUNNYBOOKS; HITLER, BREXIT THE COMIC ,WEIRD INDIAN GAY PORN AND SADDAM HUSSEIN ON AN OSTRICH!

There was a time where comic creators worked to cause up a stink. Keith Giffen shot a comic (We're still after one, please, Dave or anyone else who worked for Blackball.) Kevin Maguire made ALL of Steve Rogers embossed. Spawn shipped 2 issues out of order. Lobo punched God in the face. Kyle Rayner became a Green Lantern. Barry Windsor Smith said some of the early Image Comics were a bit rubbish while promoting his new book 'Storyteller'. Youngblood: Year One would feature fully painted art by Rob Liefeld, akin to just released hit 'Marvels', featuring painted art by Alex Ross. Tom DeFalco famously declared his new ongoing from Marvel, 'Sleepwalker', would be 'Sandman' done right.

Copies of Sleepwalker are usually found in cheap bins across the Western hemisphere so feel free to judge for yourself how successful he was with that.

But for our money, nobody stirred up trouble like Gregarious Grant Morrison. His interview alongside Mark Millar with Comics World to promote their upcoming mini-series 'Skrull Kill Krew' remains one of the funniest moments of 'What a load of old bollocks this is!' vindictiveness since John Buscema told everyone in his art class to swipe since 'this stuff ain't going in the Lourve, pal.' Some of the less informed American hype rags attempted to suggest that SKK was the natural sequel to Zenith since it would see Morrison reunite with his partner in crime: Steve Yeowell.

Which either means they didn't know, or thought it wiser not to mention a strip that ran in Crisis circa 1990 called 'New Adventures Of Hitler'.

We'll come back to Crisis in more depth because it's probably the answer to the question a lot of the UK retailers are asking at the moment: How do we get people reading comics again. Crisis or something like it would be a good attempt, featuring a ton of original strips in a format that didn't suggest it ought to be stocked amongst a bunch of plastic bags full of toys and a magazine. Crisis also featured two of our favourite stories: 'Dare' which finished off from the sadly cancelled Revolver (Again, more another time.) as created by Grant and Rian Hughes and 'Trip To Tulum'. Which oddly was the only way to find the English translation of the collaboration by Milo Manara and Federico Fellini for quite a long time. God knows how they even got that in the first place.

NAH featured in issues 46-49 and surprised a few newsagents opening their delivery at 5am across the UK when confronted with 'Mr Hitler's Holiday', featuring your man from The Third on a bike against a dirty lurid purple cover. NAH concerned itself with Adolf taking a trip to Liverpool from 1912-1913 and learning a few tricks about fascism from the English while reality warps itself silly around the wee lad. Morrisey shows up singing 'Heaven Knows i'm Miserable Now'. A bunch of randoms begin chanting 'Hitler Has Only Got One Ball' on a bus he's on leaving the future Fuhrer mystified and mortified.

'NAH' originally ran in something called 'Cut' magazine but one of the editors, also someone from a band called 'Hue & Cry' having a strop so either 'Cut' itself stopped or at least stopped running the story. In any event, it migrated over to Crisis. It's rather excellent and while we don't know who owns the rights to it, it's one of those things that really ought to be in print.

Speaking of which......

Those more in the know will have to explain it to us, because the common answer is 'Because Grant and Mark aren't friends anymore.' and we're not sure that's how book publishing works, but the question is obviously 'Why isn't Big Dave in print?' If ANY comic were a timely insight into the mindset of the Brexit voting population of the UK, 'Big Dave' prophetically nails it like a time bullet fired from 1993. Essentially a high budget Viz strip beautifully pencilled by Steve Parkhouse, BD is a series of increasing ludricious adventures featuring that wide necked bloke in an England shirt with a bulldog tattooed to his forehead you see every St George's Day with a copy of The Sun in his back packet. It is ludicriously sexist, homophobic, racist and pro-monarchy.

Or at least the character is. Quite a few people seemed to confuse 'the portrayal of an attitude' with 'the glorfication of same attitude'. 2000AD apparently getting a bit narky if you bring this not being in print up. Frankly, if you don't find Dave having a threesome with Princess Di and Sarah Ferguson funny, you're probably reading the wrong column. We'd like to see this back in print. And please, please do not feel compelled to update this strip the same way 'DR & Quinch' was earlier this year. We'll stick that little relaunch in the same bin as the 'Femme Fatales/What if our artists swiped from Loaded and stuck some 2000AD related costumes on the art.' supplement from 1994, aye?

Finally, we go from the unreprintable to the never even published and perhaps not even written!

Unless somebody does something incredible, we will probably go to our graves saying that 'Kill Your Boyfriend' by Morrison & Bond is the best single story in comics ever published. This, before old men start getting heart attacks, does not include long form series, mini-series, single graphic novels, cartoon strips, etc. In terms of a story that starts, continues and ends in one issue with no knowledge of any other comic ever published, KYB is it. It brings up and destroys the notion of the personality as anything other than a series of reactions to various traumas and conditioning far faster than 'The Dice Man' does and with much funnier results. It could be read as the documentation of how a good acid trip will crack the inner monologue of the ego and set your inner self free, if you were of such a mind. It's certainly one of the best things Vertigo ever did.

'KYB' was part of a line called 'Vertigo Voices' published in 1995. The other books were 'Faces' by Pete 'Shade' The Changing Man'* Milligan and Duncan 'Oh, all the good things' Fegredo a book about why is plastic surgery and what does it say about us that we've conditioned ourselves to believe that there is such a thing as an imperfect face. Also 'Tainted' by Delano and Davidson (we've not read it, but the line up is well sound) and another book that we'll come back to in a bit but what's relevant here is that there was meant to be another comic in this line.

That comic would have been 'Bizarre Boys' by Grant Morrison, Pete Milligan and Jamie Hewlett.

The legend is that a suitably refreshed Grant and Pete were out in India and were looking around at various stalls filled with magazines, amidst the chaos the publication 'Bizarre Boys' caught their eye and was so outlandish (we're not Googling it, but nor are we stopping you from doing so.) that they committed right there to sell a comic with the same title to Vertigo. It got as far as being previewed in Spin Nov 1994 along with talk of an Invisibles TV Show (and come on. PLEASE. Netflix has cleared the deck of all the boring Marvel Superhero things so now is the PERFECT time for the adventures of Lord Fanny And The Other Ones.) but somewhere along the line it simply dropped from the publication schedule with no word of why, although as the comic was to be a fictional biography of Milligan and Morrison's alter egos, it's suggested that they were too busy living the life to settle down long enough to document.

We'd have to make the point that an oral account of the Vertigo offices circa 1994-1996 as spoken by Pete and Grant while drawn by Jamie would be a far more interesting thing to bring us back to the shops for new comics than, well, Tank Girl or Green Lantern.

The following pitch ran as part of The Time Is Now: DC Comics' Editorial Presentation 1994.

'Here's the solicitation copy for Bizarre Boys, which ran as part of The VERTIGO does what it does best in VERTIGO VOICES - a new umbrella title for four distinctive one-shots - where four of VERTIGO's most creatively deranged writers give voice to their most outrageous, gripping and graphic imaginings. Each "VOICE" delivers its own sound, in turn hyperreal, darkly disturbing, irreverent, and biting. FACE is the first "VOICE" to be heard, followed by KILL YOUR BOYFRIEND, and closing with BIZARRE BOYS. These are stories with sounds all their own, tearing a jagged rip through reality.

BIZARRE BOYS, VERTIGO VOICES' most irreverent title, is a story within a story within a story. It's about some fictional characters called the Bizarre Boys, and about the writers who write them and about the writers who are writing about the writers... There are two voices telling the tale of BIZARRE BOYS, and they don't agree with each other at all.

BIZARRE BOYS is a comic about a comic and about the process of putting together a comic. It's a sparkling tapestry of post-modernism and a fast- moving breathless chase across time and space.

It all takes place - naturally - on Bizarre Boys Day, when writers Peter Milligan (SHADE, THE CHANGING MAN) and Grant Morrison (THE INVISIBLES) join forces with artist Jamie Hewlett (SHADE, THE CHANGING MAN, Tank Girl) to tell the tale of two writers called Millison and Morrigan, and their fabulous creations, The Bizarre Boys. Echoing James Joyce's Bloomsday, whatever events happen on Bizarre Boys Day also happen in the comic.

As the two writers begin their quest for the fantastic Bizarre Boys, whose sweat contains miraculous healing and hallucinogenic properties, these latter-day Brothers Grimm weave some dissolute modern fairy tales, take the wraps off the creative process itself, and tell a joke or three.'

We're told by inside sources that elements of 'Bizarre Boys' ran in the final book of The Vertigo Voices line: 'The Eaters' as drawn by Dean Ormston and Pete Milligan.

And that's us for now. What do YOU think? Should these projects remain in the dustbin of FunnyBook History? Maybe Kickstarters, er, started to try and release them as independent books (Lord knows if Cyberfrog can be a thing again, then...) Amazon have begun publishing comics directly from creators like Kyle Baker and Rick Veitch, which could sidestep the whole 'Comics are for kids so why is this in Sainsbury's!?' furor all over again. Image has put out some fairly anondyne nonsense lately and could do with something like this in their line-up. Let us know in the comments and as ever we'll see you in The FunnyPages.

(Big Dave ran as part of 2000AD's 'Summer Offensive' in 1993, some of the most fun the Progs have ever been. Big Dave features in the following issues*:)

"Target Baghdad" (with Steve Parkhouse, in 2000 AD #842–845, 1993) "Monarchy in the UK" (with Steve Parkhouse, in 2000 AD #846–849, 1993) "Young Dave" (with Steve Parkhouse, in 2000AD Yearbook 1994, 1993) "Costa del Chaos" (with Anthony Williams, in 2000 AD #869–872, 1994) "Wotta Lotta Balls" (with Steve Parkhouse, in 2000 AD #904–907, 1994)

*according to Wiki, anyway.

'New Adventures Of Hitler' can be found in Crisis: #46 - 49.

[hellyeahheroes]

VERTIGO: A CELEBRATION OF 25 YEARS HC curated by SCOTT BRYAN WILSON introduction by SCOTT SNYDER afterword by MARK DOYLE interviews with Garth Ennis, Glenn Fabry, Jamie Delano, Colleen Doran, Jeff Lemire, Jock, Lee Bermejo, Becky Cloonan, Mark Buckingham, Peter Milligan, Sean Murphy, Todd Klein, Ann Nocenti, Kurt Busiek, Paul Levitz, Devin Grayson, Rachel Pollack, Cliff Chiang, J.M. DeMatteis, Paul Jenkins, Mike Allred, Brian K. Vaughan and dozens of other Vertigo creators design cover featuring art by CHRIS BACHALO One of the most influential imprints in comics history celebrates its 25th anniversary in this lavish collection of art and interviews, VERTIGO: A CELEBRATION OF 25 YEARS! This deluxe hardcover revisits the history of the innovative imprint as told by the people who lived it. A luxurious hybrid of oral history and retrospective art book, VERTIGO: A CELEBRATION OF 25 YEARS features a comprehensive timeline of every Vertigo project ever released and insightful new interviews and behind-the-scenes intrigue with Vertigo writers, artists, editors, designers and publishers, while showcasing the magnificent Vertigo covers and interiors from some of comics’ greatest and most influential artists. Vertigo has long been renowned for some of the best graphic story-telling of all time, as it’s been home to such groundbreaking series as THE SANDMAN, SAGA OF THE SWAMP THING, THE INVISIBLES, DOOM PATROL, Y: THE LAST MAN, PREACHER, FABLES, 100 BULLETS—and that’s just to start. With Neil Gaiman, Grant Morrison, Brian K. Vaughan, Scott Snyder, Garth Ennis, Brian Azzarello, Frank Quitely, Matt Wagner, Jeff Lemire and countless others among its illustrious alumni, Vertigo has been the place where iconic talent and story meet. VERTIGO: A CELEBRATION OF 25 YEARS is a dynamic look back at some of the greatest comics in industry history. ON SALE 11.07.18 $39.99 US | 400 PAGES FC | MATURE READERS

[thecomicon]

Can't Take A Joke? - Preview John Constantine: Hellblazer #1 From Spurrier, Campbell And DC Comics

Can’t Take A Joke? – Preview John Constantine: Hellblazer #1 From Spurrier, Campbell And DC Comics

As well as releasing a preview of the new John Constantine: Hellblazer series coming out from DC Black Label, DC Comics have posted an interview with series writer Simon ‘Si’ Spurrier on their official website here. There have been many great British writers chronicling Constantine’s solo adventures over the years, from Alan Moore, to Jamie Delano and Mike Carey, and now Simon ‘Si’ Spurrier too.…

[thisdaynews]

Sanders goes full FDR in defense of democratic socialism

New Post has been published on https://thebiafrastar.com/sanders-goes-full-fdr-in-defense-of-democratic-socialism/

Sanders goes full FDR in defense of democratic socialism

poster=”http://v.politico.com/images/1155968404/201906/1063/1155968404_6047541474001_6047534055001-vs.jpg?pubId=1155968404″

true

Bernie Sanders argued Wednesday that the United States is at a moment as urgent as the one it found itself in during the 1930s: Authoritarianism and oligarchy are on the march across the world, he said, and the best way to defeat them is with an emphatic break from the mainstream politics of either party.

In a major campaign speech designed to counter critics of his democratic socialist ideology, the Vermont senator proposed a “21st century economic Bill of Rights” that would ensure the right to a decent job, health care, affordable housing, higher education, secure retirement and a clean environment.

Story Continued Below

Sanders, whose family members were killed in the Holocaust, also reminded audience members that tens of thousands of Nazis gathered in 1939 “not in Berlin, not in Rome — but in Madison Square Garden, in front of a 30-foot-tall banner of George Washington bordered with swastikas.” But instead of falling for fascism, he said, Americans followed the path of New Deal liberalism.

“We rejected the ideology of Mussolini and Hitler. We instead embraced the bold and visionary leadership of President Franklin Delano Roosevelt,” he said. “Together with organized labor, leaders in the African-American community, and progressives inside and outside the party, Roosevelt led a transformation of the American government and the American economy.”

Sanders drew a line between the Nazis who gathered in New York City in 1939 to the neo-Nazis who marched in Charlottesville in 2017. At the same time, he tied himself to Roosevelt: One of his biggest applause lines came when he recalled a well-known campaign speech that Roosevelt delivered in 1936.

Sanders repeated Roosevelt’s famous words that he had to struggle against “class antagonism,” “sectionalism,” “war-profiteering” and other foes: “Never before in all our history have these forces been so united against one candidate as they stand today. They are unanimous in their hate for me — and I welcome their hatred,” Sanders said.

The audience erupted, chanting “Bernie! Bernie! Bernie!” Some of them wore red T-shirts boosting Sanders’ proposed “Medicare for All.”

Sanders replied, “I must say, it does sound a little contemporary, doesn’t it?”

The independent presidential candidate also used the speech to tie himself to the Democratic Party, rattling off numerous examples of times that Democratic presidents, from FDR to John F. Kennedy to Bill Clinton, were derided as socialists. And he said that, in embracing a new “economic Bill of Rights” like FDR proposed shortly before he died, he was trying to complete the unfinished business of the Democratic Party.

“Today, our Bill of Rights guarantees the American people a number of constitutionally protected political rights,” Sanders said. “Now, we must take the next step forward and guarantee every man, woman and child in our country basic economic rights — the right to quality health care, the right to as much education as one needs to succeed in our society, the right to a decent job, the right to affordable housing, the right to a secure retirement and the right to live in a clean environment.”

In trying to tie his campaign to Roosevelt, Sanders was also making an implicit argument about his electability, a question mark that’s hovered over both his campaigns for president. “FDR and his progressive coalition created the New Deal, won four terms, and created an economy that worked for all and not just the few,” he said.

Sanders’ speech triggered a response from some of his most unpopular rivals. JPMorgan Chase CEO Jamie Dimon said that “socialism means that the government owns and controls companies,” and uses them for “political purposes, for jobs and votes.”

Meanwhile, Republican leaders saw an opportunity to use Sanders’ speech to hitch all Democratic presidential candidates to socialism. Sen. Marco Rubio released a video today blasting democratic socialism, saying it “hasn’t worked anywhere in the world” and “is incompatible with our American values.” The Republican National Committee also continued its series of emails titled “Bernie ❤ socialism,” with today’s missive ending with the line “so do his 2020 comrades.”

In an interview with POLITICO before the speech, Sanders said conservatives have long misled Americans about democratic socialism.

“Over the years, you have right-wing politicians who are trying to lump socialism into authoritarianism and into communism,” he said. “They are very different ideologies.”

Read More

[aion-rsa]

The Triumphant Return of Vertigo

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The most influential comics imprint of all time is back in full force, as DC kicks off a new era for Vertigo.

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Interview Marc Buxton

DC Entertainment

Sep 4, 2018

Vertigo

Sandman. Fables. Preacher. Lucifer. iZombie. Y, the Last Man, Transmetropolitan, 100 Bullets. The Books of Magic. These are just some of the titles that have forged the legend of Vertigo.

Since the late 1980s, Vertigo has been DC’s imprint for cutting edge, mature comics that defy limitations and genre. Some of the greatest voices in comics, including Neil Gaiman, Garth Ennis, Grant Morrison, Brian K. Vaughan, Brian Azzarello, Ed Brubaker, Peter Milligan, Jamie Delano, G. Willow Wilson, and so many more have walked the razor’s edge of Vertigo and through daring and constant experimentation, have broken the barriers of traditional comics and crafted the future. But for the past few years, the Vertigo output has been sparse. Yes, there have been cool projects here and there, but even the most ardent Vertigo supporter would have to admit that the flame of Vertigo has been burning low.

That’s all about to change with the roll out of seven new Vertigo titles that will reignite the brand and remind people why Vertigo is the go to place for new ideas and innovative talent. We checked in with Vertigo Executive Editor Mark Doyle for a breakdown of all the dizzying new ideas that will soon be infecting the unsuspecting comic book market.

Just so you know, I’m a big Vertigo head from years back. I spent my formative years wearing eye shadow and black nail polish because of Neil Gaiman.

You too?

That being said, why is now the time in this busy marketplace for a DC Vertigo relaunch and rebrand?

It’s the 25th anniversary. Once something has been around for a while, it’s time to look at it and say, “What’s working, what’s not? What do we like about this? What don’t we like about this?” That’s kind of the catalyst to all this. And, it also felt like it was the right time to look at the kind of stories we were doing and reevaluate things.

The last few years, the Vertigo output has been small. Quality but small. I just finished Death Bed, I enjoyed Motherlands, and Of course you’ve had Astro City rocking because that book is just the best. How did you go from those few titles into a complete Vertigo relaunch?

I came back to Vertigo in spring 2017. We restructured the editorial team. There were a few editors who were already here and we brought in two other editors and me. In restructuring, we sat down and said, “What are we doing? What do we like? What aren’t we doing? Where do we want to relaunch?”

If you remember, July of last year is when we teased the idea of “8-8-18.” Because we knew at that point we were relaunching the entire line and Sandman Universe. We knew that’s where we would do it. That was us planting a flag and saying, “Hey, we might be sort of dormant for the next year, but we’re going to be putting some things out but keep your eyes out on this date because big things are coming.”

That gave us the time, and, honestly, I’m grateful for the company for saying, “Take a minute, take a breath, figure out what you want to do and then go from there.” The next step after planting that flag was: let’s sit down and talk about what we want to do, what type of stories do we want to tell? What do we want to publish? What are we excited to publish? What are we a little bit scared to publish? From there, let’s find the talent to meet that criteria.

To you, what makes a Vertigo creator in 2018?

It just has to be someone with a voice with something to say.

I don’t think you’ll argue with me when I say what’s going on in comics right now is because of the influence of Vertigo, because of Preacher and Sandman and Transmetropolitan and Y and 100 Bullets and everything. That kind of made the book market. That led the way. Do you feel a sense of  responsibility to plant the flags now so people in 2045 will look back and be like, “Yup, we’re here because of Vertigo.”

One hundred percent. And responsibility is the right word. That’s what I feel when I walk into work every day. I, like you, love Vertigo. I found Vertigo at a time that mattered the most to me. I take it very seriously that it’s my job to carry that torch and tell stories for a new generation of readers. That’s the goal.

Why the rebranding of DC Vertigo? Why add the DC to the already established brand?

It’s part of an overall publishing plan. I think the company is making some great moves to go from DC Comics to DC Publishing with different books aimed at readers of different age groups, styles and tastes. It makes sense to be a part of that.

Obviously Vertigo’s bread and butter has always been the book market, are there any plans to try to keep increase the single issues’ presence in the direct market? How are you going to get those Wednesday warriors to support the single issues?

That’s a good question, and it’s an ongoing conversation. It’s a lot of stuff we’re doing that I can’t talk about yet.

One of the things we’re doing is that, rather than look at them as two markets we’re trying to look at it as creating a cohesive campaign with a message. The books are so diverse; you can’t just sell the books to the same person. It’s more about, how do you sell each of these books individually? How do we reach a potential audience that each one of these books have, and make sure that the message is clear from the periodical and direct market and trade market and book market. Make sure we have all the teams in the room together creating one cohesive campaign.

further reading: Sandman - The Essential Horror Comic of the 1990s.

The other half of it is, really, we have a lot of really smart plans from the digital side and house ad side. We want to engage the creator’s fan base. We have creators bringing in eyeballs from other media and other aspects of this business and reaching out to them.

How does Warners look at the Vertigo label knowing that you gave them iZombie, you gave them Lucifer, you gave them Preacher? I think every fan knows Sandman is the next Lord of the Rings waiting to happen, you just have to get the right visionary. 100 Bullets is one day going to take the world by storm. Does Warners look at Vertigo as an IP machine away from the superhero genre? 

Yes, I think so. I am part of those conversations, but, look, at the end of my day, that’s not my job; my job is to make great comic books. That’s what I love to do. Look, I’m a total cinephile…I read comics because I want to read comics. I make comics because I want to make comics.

Right, I don’t think anyone wants to read a comic that is obviously a failed TV pitch. The Walking Dead was a great comic. No one had any idea that this could happen, and that’s why this happened.

Exactly, and I’m not looking at anything we are publishing now or developing now as anything that’s like, “Well, this would be a really expensive TV show so maybe we shouldn’t use aliens or spaceships.” I can’t do that. Anything that limits the creator, I’m not interested in. At the end of the day, that’s someone else’s job. I could make a great book. And  look at the things that have been developed. The comics are an inspiration.

Right, I don’t think when anyone was reading Mike Carey’s Lucifer they said, “You know, this is going to be a really good police procedural one day!”

Exactly.

Talk about genres, other than Hex Wives from Ben Blacker and Mirka Andolfo and American Carnage by Bryan Hill and Leandro Fernandez, these new titles seem to be exploring genres outside Vertigo’s sweat spots of dark fantasy and crime. Is this a redefining of what DC Vertigo could be or can we expect more classic Vertigo books after the initial roll out?

I love all genres and I’m happy to explore them all. I’ve never thought of us as being about this genre or that genre, to me it’s always been about telling great stories and creating new characters. To do that, you have to be open. My hope is that we continue to grow and people see that we can do anything and everything. Historical fiction, romance, non-fiction…whatever. If it’s a great story it belongs here.

Let’s talk about each one of the new Vertigo books...

Border Town by Eric M. Esquivel and Ramon Villalobos

When a crack in the border between worlds releases an army of monsters from Mexican folklore into the small town of Devil’s Fork, Arizona, the residents blame the ensuing weirdness — the shared nightmares, the otherworldly radio transmissions, the mysterious goat mutilations — on “God-dang illegals.” With racial tensions supernaturally charged, it’s up to new kid in town Frank Dominguez and a motley crew of high school misfits to discover what’s REALLY going on. (September)

This seems like the most ripped-from-the-headlines type of new Vertigo book. Talk about the genesis of this project.

This sounds like I might be dodging the question, but honestly, when the pitch came in it was one of those pitches, I was like, “Yes, one hundred percent, yes!” It was a one page pitch at the beginning, and it just clicked.

But here’s exactly how this book got put together. It started when editor Jamie Rich was talking with Eric Esquivel. Eric had pitched a few things over the years. Jamie is editing the Batman books now, but he was here at Vertigo when I started, and we developed a lot of stuff together…Eric pitched a lot of stuff and nothing was clicking. Then Jamie went to Eric and did what good editors do which is say, “Pitch me the thing that only you can write. Pitch me the thing you can’t do anywhere else.” Eric regrouped and he came back with Border Town.

And here’s an interesting genesis, in between Jamie getting the pitch from Eric, Jamie moved over and did the Batman books full time, the book moved over to editor Andy Khouri. Andy loved the pitch, and immediately came back with Ramon as the artist. It was just sort of this combination one editor talking to a guy and being passed along and evolving. Watching them work together is incredible. There was this great moment where Jamie read it and thanked us because it was amazing.

There were some early disturbing, angry responses to this book including some disturbing stuff around San Diego Comic-Con, how do you deal with the risks surrounding such polarizing issues as you enter this new Vertigo line?

I mean, look, I don’t take any of this lightly, but, I look at it as, if someone is talking about this in a good way or a bad way, we’re doing our job right. We should be making books that elicit a response one way or another.

Right, you’re not doing Richie Rich.

Right. No. It goes back to your earlier question: What’s a Vertigo creator today? A Vertigo creator today is someone with a voice. And, Erica and Ramon have something to say. It’s my job to help them tell their story. If someone has a problem with that then don’t read the book, because frankly, I don’t want you anyway.

Hex Wives by Ben Blacker and Mirka Andolfo

“The women are too powerful. They must be tamed.” A malevolent conspiracy of men brainwashes a coven of witches to be subservient, suburban housewives. But it’s only a matter of time before the women remember their power... (October)

This seems like the most classic Vertigo style book of all the new titles. Was there a conscious choice of including a classic supernatural style Vertigo book?

Yes and no. We sort of started with the big picture top down question of what genres we want to do. But it wasn’t buckets we had to fill. It wasn’t like I kept hitting the pavement until I got a witch book. It wasn’t like that. But when it came in from Ben, you felt it scratching some itches. Not only did it feel like a classic Vertigo book, it felt very present. It felt like, “Oh yeah, with this set up we can absolutely explore some interesting things that we can explore right now.” Ben is just so genuinely interested in the process of everything… it really comes through in the work.

American Carnage by Bryan Hill and Leandro Fernandez

In this thrilling crime saga, disgraced FBI agent Richard Wright, who is biracial but can pass for white, goes undercover in a white supremacist group believed to be responsible for the death of a fellow agent. (November)

Bryan Hill has been killing it on Detective Comics. This book seems like it’s in the same zeitgeist as Spike Lee’s new film and the Vertigo classic Incognegro. What drew you to this book?

I think what I liked about this book is that it was a crime story. There was a high concept pitch to it. You’ll see when you start digging into it; it’s just an incredible, complex crime story where you have a hero that’s walking into a world thinking, “I get this. I can do this. I can subvert this.” Everything seems black and white and then everything changes once they get wrapped up in it.

Goddess Mode by Zoë Quinn and Robbi Rodriguez

In a near future where all of humanity’s needs are administered by a godlike A.I., it’s one young woman’s horrible job to do tech support on it. But when Cassandra finds herself violently drawn into a hidden and deadly digital world beneath our own, she discovers a group of super-powered women and horrific monsters locked in a secret war for the cheat codes to reality. (December)

This seems the most experimental of the new line. What makes this a perfect part of the Vertigo launch?

I think experimental is a good word. I think some people might turn their nose up at experimental, but I think good things come out of experimental. Again, it was the guiding light on all these books. Is the talent someone who has something to say? When Andy Khouri brought me Zoë, I said, “Yes, that’s a great idea.” That’s one of the things we said from the very beginning, “Let’s bring in people who aren’t doing comics but could make great comics.”

One of the amazing things about all these people we reached out to, you start with a pitch of, “Hi, I’m an editor and Vertigo,” and we don’t have to do the full pitch because talent is like, “Yes, stop right there. I’m in.” All of these creators knew DC and Vertigo and was like, “Yes!” That was a really cool response. This was something that came out of conversations with Neil Gaiman and working on Sandman Universe.

One of the observations he had was that it was amazing working with the creators he was working with, the writers and artists both, all these people who grew up reading and adoring his work. I worked on the Batman books, and when you called people to work on Batman, they’d lose their minds. A similar thing happens with Sandman and the Sandman world… that’s a very cool thing to see. You have a whole generation of people who’d rather do a Sandman book and a Vertigo book.

Talk about working with the co-creator of Spider-Gwen Robbi Rodriguez. He seems to know what the readers want before the readers know it.

That’s a great way to frame Robbi. I’ve known Robbi for a long time. I first met him in San Diego about five hundred years ago, and he had a self-published book. This was like 2010. He was looking to do some stuff. I worked with on a Vertigo book I did called F.B.P. We did that book, we hit it off.

As I was developing the new Vertigo books, he reached out to me and said, “Hey, I’m going to be wrapping things up on Spider-Gwen, I’m looking for something else. I feel like a challenge, I want to come home to Vertigo. What have you got?” At the same time this pitch was being developed with Zoë and it seemed like a natural fit. He did a book called Frankie Get Your Gun. It’s funny you say Robbi is ahead of the curve, because this book was Mad Max: Fury Road before Fury Road. He knows what people wants before they want it.

High Level by Rob Sheridan and Barnaby Bagenda

Hundreds of years after the world ended and human society was rebuilt from scratch, a self-interested smuggler with a price on her head is forced to traverse a new continent of danger and mystery to deliver a child messiah to High Level, a mythical city at the top of the world from which no one has ever returned. (2019)

Forgive my ignorance. I’m not familiar with this creative team. 

It doesn’t surprise me that you’re not familiar because Rob comes from a different world. Rob comes from the music world. He was the artistic designer with Nine Inch Nails for years. He did concept designs and album designs. Web design was all Rob. He has this interesting aesthetic, but he always loved comics and is an interesting storyteller in his own right. When we reached out to him, he was like, “Yes, I’d love to do a Vertigo book.” Again, that was Andy Khouri coming to me and saying he thought of a person outside what we do but he likes what we do.

Barnaby worked with Andy on a book he first edited when he came to DC called Omega Men with Tom King. If you go back and look at that book, you’ll see what a terrific world Barnaby does with terrific characterization.

Safe Sex by Tina Horn and Mike Dowling

A dystopian sci-fi thriller about a ragtag team of sex workers fighting for the freedom to love in a world where sexual pleasure is monitored, regulated and policed by the government. (2019)

Safe Sex seems like it could be the sleeper hit of the line. Why should this book be on the readers’ radar? And please, tell us about how this book came about.

This book should be on readers’ radars because Tina is a great writer. She is another person that came outside of comics. She has this incredible podcast called Why Are People Into That?

In this case it was editor Amedeo Turturro who came to me and said, “Here’s an interesting person who never did comics.” I said, “Yes, we should reach out to her.” She immediately got it; she immediately got Vertigo and she had this really great, very relevant, very present pitch, but at the end of the day, it’s a story about love. It’s about people who want to love each other despite the world that’s around them. You frame all that in a dystopian heist narrative and I’m like, “Yes, great, I’m in.” But when you work with someone who’s never written anything before, you say let’s try a sample script to see if they do it. And she really nailed it. Early on, you can tell if someone is missing it, but she totally got it in terms of pacing a page and an issue, she got it.

further reading: Brian Michael Bendis and the Future of Jinxworld at DC

I agree with you, it could be a sleeper hit. It looks great, too. With comics like this, it comes down to what does it look like. But here, there’s a definite tone to the world. It feels like a superhero book even though it’s not a superhero book.

Second Coming by Mark Russell and Richard Pace

God sends Jesus to Earth in hopes that he will learn the family trade from Sun-Man, an all-powerful superhero, who is like the varsity quarterback son God never had. But, upon his return to Earth, Christ is appalled to discover what has become of his Gospel and vows to set the record right. (2019)

From The Flintstones to Prez to Snagglepuss, Mark Russell is a writer that creates hits in the most unexpected places. Talk about working with Mark and what drew you to Second Coming.

It was a great pitch. A good pitch is when someone pitches you the first line and you can see what the next ten issues will be. Going back to what Vertigo means and what we want to be publish...one of my favorite Vertigo books before I got to Vertigo was Preacher. I always though Vertigo was a place that was not afraid to attack institutions and satirize things. I think that the world needs that. I think you need to hold things up and say, “Look at this people. Should we be doing this?”

The top line of Mark’s pitch was funny, but once you dig into the story and characters, you see he’s incredibly real and honest and just wants to explore what it means to be a good person. He pitched two characters that represent two extremes of the spectrum and that’s where great drama comes from.

Any plans to incorporate classic DCU characters into the new Vertigo like the imprint has done in the past like Joe Lansdale did with Jonah Hex, and others did with Creeper, Haunted Tank, Deadman, hell, even Sandman.

The short answer to that is, that’s when I take off my Vertigo hat and put on my DC Black Label hat. That’s when people come to me and say, “Listen, I have this take on this character in a darker format,” that’s when we talk about Black Label.

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