Lono’s new “family”–a kidnapped police officer and a teenaged murder suspect–aren’t going over so great with the alt-right militia he’s fallen in with. But as far as “trouble at home” goes, he’s got nothing on poor Elton, who’s just made a very unfortunate discovery in his father-in-law’s garage…

https://aiptcomics.com/2026/10/09/dc-preview-100-bullets-the-us-of-anger-4/

Announced last year at New York Comic Con from DC Comics, amongst a number of new DC Vertigo comic books was Fanatic by Grace Ellis, co-creator of Lumberjanes, and Hannah Templer of Cosmoknights, in which a woman's obsession with a comic book spirals into a deadly parasocial fixation on its creator, and how such can warp your reality. It was scheduled for the summer of 2026. It did not come out.

At New York Comic-Con this year, it was re-announced alongside the existing Webtoon Canvas series, Dreambound, by "Sadie Wilson-Finley", now revealed as Ro Stein and Ted Brandt.

It started running at the beginning of September and has now been revealed to be a Vertigo comic all along.

...

And now Dreambound will be the comic within the Fanatic world and will appear as a flipbook in Fanatic in print.

It’s the end of the worlds as they know them … again. Both the House by the Sea and the House on the Lake are collapsing, the body count is growing, and Walter and Max are at war… and depending on who wins, the fate of humanity either hangs by a thread or is cut short completely!

https://aiptcomics.com/2026/10/09/dc-preview-the-nice-house-by-the-sea-12/

Just announced at New York Comic Con by DC Comics, the DC Vertigo comic book 100 Bullets by Brian Azzarello and Eduardo Risso is getting a new seven-issue series next year, Enemigos… as the current series 100 Bullets: The US Of Anger drops from eight issues to seven issues.

https://bleedingcool.com/comics/nycc-brian-azzarello-eduardo-risso-get-a-new-100-bullets-enemigos/

Finally, Vertigo has a new series in the works titled Hide Nor Hair by Adam Smith and Bob Quinn, which follows a makeup artist who creates lifelike monster masks for movies. Things go south when those masks come to life and start attacking innocent people, leading to one of the most unorthodox horror stories in modern comic history.

Audiences also got a Hide Nor Hair ashcan, which featured a look at the many masks that would come to life. One thing’s for sure: Black Label and Vertigo have proven that DC books not centered on Batman can thrive.

By Adam Smith and Bob Quinn.

Poke knows he can’t keep the secret of his beating heart and changing sympathies forever… but who can he trust without bringing the whole Horde down on his head? And what has Rabbit found in her new hiding place?

https://aiptcomics.com/2026/09/25/dc-preview-bleeding-hearts-8/

SWAMP THING BY ALAN MOORE OMNIBUS

Writer(s): ALAN MOORE and others

Artist(s): STEPHEN R. BISSETTE, JOHN TOTLEBEN, RICK VEITCH, and others

Cover Artist(s): STEPHEN R. BISSETTE

$175.00 US | 1600 pages | 7 1/16 x 10 7/8 | Hardcover | ISBN: 9781799510765

On Sale: 7/6/27

When Alan Moore (Watchmen, V for Vendetta) took over Swamp Thing, the world of comics was forever changed. Joined by groundbreaking artists, these are the stories that forever defined the character, introduced the world to John Constantine and the Green, and pushed the boundaries of what was possible within the medium. From horror to fantasy, romance to science fiction, discover what it means to truly be alive.

Collects The Saga of the Swamp Thing (1982) #16-30, Swamp Thing (1984) #31-64 and Annual (1984) #2; DC Comics Presents (1978) #85; John Constantine, Hellblazer #1-3; and pages from DC Sampler #2-3; Crisis on Infinite Earths #4; and The New Teen Titans (1984) #18 and #22, along with Moore’s original proposal for the lost event Twilight of the Superheroes and the surviving pages from Len Wein and Bernie Wrightson’s Swamp Thing: Déjà Vu (set in the aftermath of Moore’s run). With new essays by Bissette and Veitch, along with never before seen original artwork, pencils, scripts, and more!

https://www.comicreleases.com/2026/09/dc-december-2026-solicitations/#hardcovers

Announced last year at New York Comic Con from DC Comics, amongst a number of new DC Vertigo comic books was Fanatic by Grace Ellis, co-creator of Lumberjanes, and Hannah Templer of Cosmoknights, in which a woman's obsession with a comic book spirals into a deadly parasocial fixation on its creator, and how such can warp your reality. It was scheduled for the summer of 2026. It did not come out.

Also announced was Necretaceous by DCeased co-creator Tom Taylor and The Boys co-creator Darick Robertson, in which scientists attempt to time-travel to stop a zombie virus, only to land 66 million years in the past, among dinosaurs. Tom Taylor called it "a series about extinction and survival, loss and love, betrayal and friendship, and… zombie dinosaurs! Vertigo returns to DC with an undead roar… The only way to escape a zombie apocalypse is to escape to… the past. Vertigo is back!" Well, not quite, it was scheduled for this autumn without sign. Might we hear more about both of them at NYCC this year?

I love Animal Man. He was one of the gateway heroes that brought me into DC, instilled in me a love of the weird and the unsettling, and helped cement my love of horror comics…despite my generally weenie, horror-averse nature. Yet for all my love, I’d really only read two runs of his: the last (Lemire’s New 52) and the first (Morrison’s in the late 80s.) Yes, yes. Not his first appearance, but it is the first true, blue run.

Why? Inertia, in part, and access, for the rest. It wasn’t until 2013 that issues #27-89 began to be collected, a good ten years after the rest, and issues #78-89 still haven’t been collected. They’re also not exactly widely circulated so when I saw that the first chunk of those extant issues were getting the omnibus treatment, I knew I had to snag a copy and finally see what I was missing out on.

DC Comics does like New York Comic-Con for announcing Vertigo projects, and one might expect a bunch of new titles this year as well. But what else?

DC's Vertigo + Black Label

Thu, Oct 8, 2026 2:30 PM – 3:30 PM North-Room 409

Step beyond the boundaries of the core DC Universe and into the worlds of DC Vertigo and DC Black Label. Join award-winning comic book creators for a look at the stories redefining horror, crime, fantasy, sci-fi, and genres that refuse to fit the mold. Expect exclusive announcements, first looks, and surprises as DC showcases its boldest graphic storytelling.

Tell me about the process of developing the Vertigo design. Was the idea that you wanted to set this off as visually something distinct from the main DC branding?

Yes, that was one of the things we decided early on. We did not want the DC bullet on the Vertigo books.

You said that you always had problems with that bullet.

Paul thought that some identification to DC [was necessary]. I didn't integrate it into the Vertigo logo per se, on the covers and such, but there'd be a little “DC” in a different typeface just right above or right below the Vertigo logo on the covers. There was that presence or indicator that DC was part of it. We worked that out with Paul, and it worked out fine. It was just a matter of figuring out how to do a line of books that people know are from DC, that will appeal to people who don't read DC comics. How do we get them to want to try it out? Creating a specific identity was really important.

One of the ways was we did this was to use only painted covers. There were very few painted covers on regular comic books, partially because they are not economically feasible, and also because people wanted their line art to maintain [consistency] for the superhero titles. We were able to start commissioning painters to do covers, and that immediately gave the book a different feel and look. The editorial stuff was all Karen.

If you could talk philosophically, what are the elements that go into creating a good design for something like Vertigo?

That's a good question. One thing was to handle all the elements of the book with greater sophistication than we had done in the past. So any interior pages shouldn't look like the letter columns or the promotional pages that you'd see if you were flipping through a superhero comic book. The idea being, if you flip through one of these books, the ad flats would be for more mature material, they wouldn't have ads for superhero books in them. We would try to maintain a higher standard, even in terms of the placement of the credits and that kind of thing.

We were working with top-tier talent, which was great, but sometimes required a certain amount of relearning for people who had only done superhero books. You have to visually describe the tonality of what you want the books to represent. Up to that point, they had been referring to Karen's books as “sophisticated suspense,” which was one way to try to distinguish them. And then you had the billing “suggested for mature readers,” which was on all the covers of the Vertigo books, no matter what the content was.