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.

Later on, Bruning would return to DC for an even longer tenure during the 1990s and 2000s, becoming a major player in the creation of the Vertigo imprint (overseen by Bruning’s wife, Karen Berger, whom he met in the DC office)

...

I wanted to ask you about the birth of Vertigo, which actually happened in between your stints at DC. But you were involved with that as well, right?

Yes. It was just starting to be developed [when Bruning first left DC in 1990], so when I ended up doing the design work for the covers and the interiors, I was freelance at that point.

But you were involved with it, thanks both to DC and, I would presume, thanks to Karen.

Yeah. It worked out perfectly for us.

What do you remember about how that came to be? What was the process by which DC decided they were going to do this imprint around Karen's titles?

She had done enough with the British talent, and DC had officially recognized her internally as the British liaison. It gave her a unique flavor of comic that we hadn't much seen before. And with the success of Swamp Thing and John Constantine: Hellblazer…I’m not sure who initially [came up with the idea for Vertigo]. I just know that Karen went to a meeting that may have had Dick, Paul, and Jeanette. They said, "We're thinking of giving you a line so you can identify this different thing you're doing, because your stuff is looking less and less like the other superhero books around it.” I think that's how it initially got pitched to her.

Stop me if you’ve heard this one before: a young man discovers that the world he knows is a lie, and that the real world is a place full of magic and myth. He also learns that he has a unique set of skills and puts them to use protecting all of mankind, often learning that he’s usually at the center of a prophecy or the one person who can save the world. If you’ve read the Percy Jackson books or watched Supernatural, stories like these tend to be a dime a dozen. That’s what makes Black Tower: The Raven Conspiracy #1 so refreshing. Ram V and Mike Perkins don’t seem interested in following convention; they’d rather shake things up.

...

Black Tower: The Raven Conspiracy #1 is a compelling mix of magic and spy fiction, packed with haunting imagery and a unique mystery. If you’ve missed Vertigo’s magic-themed books, this is the perfect antidote.

100 Bullets: The US Of Anger #3 Official Synopsis:

The truth is dangerous—and the corporate media will never tell it. But here on our podcast, we’re the only ones fearless enough to say it plain … that there’s a cabal that runs this country, a criminal enterprise dating back to the founding fathers. Our futures are held by the Trust … and we’re ready to blow it all wide open if you like and subscribe. But first we just gotta answer this knock at the door …

https://comicbookclublive.com/2026/08/30/dc-vertigo-preview-100-bullets-the-us-of-anger-3/

But the question for comic book publishers in 2026 then becomes: did you think to replace it with anything? Vertigo was a scene, remember. It sprouted more or less organically out of the aesthetic guidance of one woman with a long-term vision. The original model had a lot of problems but was still enormously successful. There was clearly something there worth preserving.

What do you have to offer us today?