Dark, literary, experimental and unforgettable — Vertigo is returning, and DC hopes it can once again redefine the comic book industry.
DC Comics has officially brought back the legendary DC Comics Vertigo imprint, and for comic fans of a certain age, it feels like the return of a long-lost institution. In the 1990s and early 2000s, Vertigo was synonymous with mature, creator-driven storytelling – the home of ground-breaking titles like The Sandman, Preacher, Y: The Last Man and 100 Bullets. Now, after years of uncertainty and the imprint’s closure in 2020, DC is attempting to revive that same energy for a modern audience.
The original Vertigo imprint was founded in 1993 under legendary editor Karen Berger. Its purpose was simple but revolutionary: give creators space to tell darker, stranger, more literary stories outside the constraints of mainstream superhero comics. Over time, Vertigo became one of the most critically respected comic imprints in the world, helping comics gain credibility far beyond comic shops.
But by the late 2010s, Vertigo had lost much of its identity. Several of its major characters, such as John Constantine and Swamp Thing, had been folded back into the main DC Universe. Editorial reshuffles, cancelled relaunches, and the rise of the DC Black Label line blurred the imprint’s purpose even further. DC eventually shut Vertigo down in 2020.
Now, however, DC seems to have realised something important: superhero comics alone are not enough to define the medium. The modern comics landscape has shifted heavily toward creator-owned material, prestige horror, speculative fiction and literary graphic novels. Imprints like Image Comics have thrived in that environment, while manga and independent graphic novels have exploded in popularity. Bringing Vertigo back appears to be DC’s attempt to reclaim its place as the publisher of bold, intelligent, adult-oriented comics.
Executive editor Chris Conroy has openly described the new Vertigo as “the home for original, creator-owned work,” deliberately separating it from DC Black Label, which focuses more on prestige stories featuring established DC characters.
The new Vertigo officially launches throughout 2026 with an ambitious slate of ten titles. Some are entirely new concepts, while others revive classic Vertigo properties.
The first release is the continuation of The Nice House by the Sea by James Tynion IV and Álvaro Martínez Bueno, beginning with issue #7. Originally published under DC Black Label, the series has now been repositioned as a flagship Vertigo title. The horror-sci-fi series has already earned major acclaim, making it an ideal bridge between the old and new Vertigo eras.
Other newly announced titles include:
- Bleeding Hearts by Deniz Camp and Stipan Morian – a gritty horror title mixing punk aesthetics with supernatural violence.
- End of Life by Kyle Starks and Steve Pugh – a darkly satirical hitman story.
- The Peril of the Brutal Dark: An Ezra Cain Mystery by Chris Condon and Jacob Phillips – a noir detective story infused with occult horror and political paranoia.
- 100 Bullets: The US of Anger by Brian Azzarello and Eduardo Risso – a revival of one of Vertigo’s most acclaimed crime series.
- Black Tower: The Raven Conspiracy by Ram V and Mike Perkins – described as a spy thriller mixed with “Vertigo magic.”
- Necretaceous by Tom Taylor and Darick Robertson.
- Fanatic by Grace Ellis and Hannah Templer.
- The Crying Doll by Mariko Tamaki and Rosemary Valero-O’Connell.
- A Walking Shadow by Simon Spurrier and Aaron Campbell.
What immediately stands out is the variety. Horror, crime, science fiction, political thrillers, psychological drama and surreal fantasy all feature heavily. That broad creative range was always one of Vertigo’s strengths. Unlike superhero publishing, where books can sometimes feel stylistically similar, Vertigo historically encouraged creators to build distinct identities and experimental storytelling styles.
Another interesting aspect of the relaunch is DC’s focus on established creative teams. Many of the announced books reunite writers and artists who already have proven chemistry together. That suggests DC is prioritising quality and creator confidence over simply launching books quickly.
The big question, however, is where Vertigo goes from here.
If the relaunch succeeds, Vertigo could become DC’s answer to the creator-owned boom that has dominated comics over the last decade. Instead of losing major creators to other publishers, DC could offer them a prestigious home with strong branding, editorial support and bookstore recognition.
It could also become a testing ground for future multimedia projects. Historically, Vertigo properties have adapted exceptionally well into television and film. Lucifer, Sweet Tooth, Preacher and The Sandman all originated from Vertigo-related material. In today’s entertainment landscape, where studios constantly search for adaptable intellectual property, Vertigo could become a goldmine for streaming content again.
There is also a cultural opportunity here. Modern comics readers increasingly value author-driven stories with clear creative voices. The original Vertigo succeeded because it treated comics as literature as much as entertainment. If DC allows creators genuine freedom – rather than trying to make Vertigo simply “edgy DC” – the imprint could once again become one of the most influential brands in comics.
That said, there are challenges. The comics market is far more fragmented than it was in Vertigo’s original heyday. Readers now have endless entertainment options competing for attention, and creator-owned comics are no longer unusual. Vertigo will need to prove that it still stands for something unique.
But the early signs are promising. The relaunch slate feels ambitious, intelligent and creator-focused rather than nostalgic for nostalgia’s sake. More importantly, it recognises what made Vertigo special in the first place: not superheroes, not continuity, and not brand synergy – but strange, risky, unforgettable storytelling.