Vertigo Villains

Vertigo Villains

(pop culture)Vertigo, an imprint of DC Comics, was launched in 1993 as a way to consolidate many of DC's horror and dark-fantasy books under one recognizable banner. Each of the books chosen for inclusion in the Vertigo line carried a “Suggested for Mature Readers” label for several years, but the features that most clearly distinguished Vertigo books from other DC-universe books were tone, atmosphere, and a sophisticated literary quality. In the 1980s, DC editor Karen Berger recruited several British writers to revive dormant and long-forgotten characters in fresh, innovative ways. Alan Moore began writing Swamp Thing in 1983 and quickly drew critical attention both within and outside of the comics industry. Swamp Thing's popularity led to several similarly successful experiments in the late 1980s. The established books pulled under the Vertigo umbrella in 1993 were Animal Man, Swamp Thing, Hellblazer, The Sandman, Doom Patrol, and Shade, the Changing Man. Additional ongoing series launched within the year included Kid Eternity, Sandman Mystery Theatre, and Black Orchid. Each of these series features a protagonist who at one time had been part of DC's main universe, and several of them brought with them established palettes of villains and rogues. Since many of Vertigo's first books are supernatural, a number of the line's original villains are also supernatural. Perhaps the most prototypical villain is Anton Arcane, the mad scientist turned demon who has plagued Swamp Thing in various incarnations throughout the character's history. The Sandman's rogues' gallery pulls from a broad spectrum of myth, folklore, and literature. Morpheus' most dangerous enemies are plucked from Norse mythology (Loki), fairy tales (the Cuckoo), and Shakespearean drama (Puck). John Constantine, the protagonist of Hellblazer, is locked in an unending struggle with the First of the Fallen, the biblical villain also known as Satan. The main villain in Shade, the Changing Man is the American Scream, the living embodiment of collective American madness. Often, traditional superhero rogues' galleries are inverted in Vertigo books. Before they officially became Vertigo books, both Doom Patrol and Animal Man were dramatically overhauled by writer Grant Morrison. In Animal Man, a book featuring a character who had once been a member of a superhero team called the Forgotten Heroes, Morrison used second-tier villains Psycho-Pirate and Mirror Master in clever, inventive ways, much as he used Animal Man himself. Doom Patrol, a historically significant team of outcast heroes reminiscent of Marvel's X-Men, once had an established, familiar lineup of rogues that Morrison altered drastically during his tenure on the book. The Brotherhood of Evil was replaced by the Brotherhood of Dada, a reference to an early twentiethcentury avant-garde art movement in Europe. Surreal villains such as the Scissormen (pulled from the German children's book Der Struwwelpeter), the Beard Hunter, and the Men from N.O.W.H.E.R.E. surfaced to torment the misfits and oddballs who comprised the Doom Patrol. Morrison's run set the intelligent, surrealistic tone that would characterize most of Vertigo's books from the very beginning of the line. Later superhero comics from Vertigo reflect the type of psychological complexity that Morrison introduced. The Scarab and Enigma, two early miniseries patterned on superhero comics, are more about the process of self-discovery than about inconsequential fights with costumed supervillains. Sandman Mystery Theatre features a number of pulp-noir villains whose names sound like Dick Tracy rogues (the Tarantula, the Face, the Brute, the Vamp, Dr. Death), but the book is more a love story than an adventure comic. Although many of Vertigo's early villains are rooted in horror and fantasy, the variety of Vertigo villains quickly expanded as the imprint's range of genres expanded. This shift is most clearly seen in a series of one-shot books released in 1995 under the subheading “Vertigo Voices.” In the Voices books, the main characters are also the villains. The Eaters features a family of cannibals on a road trip across the U.S.A. Tainted is a noir-ish psychodrama about a murderer who ends up mutilating himself in a horrific way. In Face, writer Peter Milligan speculates on what might happen if a millionaire art fanatic hired a plastic surgeon to turn his face into a Picasso work. Each of these stories is set in the “real” world, and each features realistic forms of evil and madness. Similar patterns are found in current series such as Brian Azzarello's 100 Bullets, a “real-world” revenge drama in which good and evil are subjective and ambiguous. Even a concept book such as Brian K. Vaughan's Y: The Last Man, which is in the mid-2000s one of Vertigo's most popular and widely acclaimed titles, is guided by a hypothetical realism that exposes the uglier, more sinister sides of human nature. In Vertigo books, the lines between good and evil, between sanity and madness, are blurred and broken down to such an extent that it is often hard to determine who the villains are. In fact, many of the books star heroes who might in fact be called villains in different circumstances. One of Vertigo's ongoing books, Lucifer, stars the familiar biblical antagonist who originally acted as a foil to Morpheus in Neil Gaiman's Sandman series. In two of Vertigo's longest-running series, Grant Morrison's The Invisibles and Garth Ennis and Steve Dillon's Preacher, the villains are extensive semi-fascist organizations led by deformed, tragicomic characters. The Grail, a clandestine cult organization dedicated to protecting the last descendant of the Son of God in Preacher, proves to be both incompetent and obscene. In The Invisibles, cells of revolutionary anarchists battle against forces of order and conformity (symbolized by the authoritarian Sir Miles and the impish, sadistic Mr. Quimper). Heroism and villainy resist expectations and traditional representations in these stories. In a 1996 “On the Ledge” column, Karen Berger wrote, “It's been three and a half years since Vertigo first launched, and what began as a line of horror and dark fantasy comics imbued with a real-world sensibility has gradually expanded to include a much broader spectrum of material, reflecting an eclectic range of attitudes and points of view.” Berger's assessment remains true in the mid-2000s. Whatever their genre, Vertigo books more often focus on the human than the superhuman. Accordingly, whether a book is a war drama or an urban romance, its threats and villains are more internal than external— more psychological than physical.

单词	vertigo villains
释义	Vertigo Villains Starr. Preacher #24 © 1997 DC Comics. COVER ART BY GLENN FABRY. Vertigo Villains (pop culture)Vertigo, an imprint of DC Comics, was launched in 1993 as a way to consolidate many of DC's horror and dark-fantasy books under one recognizable banner. Each of the books chosen for inclusion in the Vertigo line carried a “Suggested for Mature Readers” label for several years, but the features that most clearly distinguished Vertigo books from other DC-universe books were tone, atmosphere, and a sophisticated literary quality. In the 1980s, DC editor Karen Berger recruited several British writers to revive dormant and long-forgotten characters in fresh, innovative ways. Alan Moore began writing Swamp Thing in 1983 and quickly drew critical attention both within and outside of the comics industry. Swamp Thing's popularity led to several similarly successful experiments in the late 1980s. The established books pulled under the Vertigo umbrella in 1993 were Animal Man, Swamp Thing, Hellblazer, The Sandman, Doom Patrol, and Shade, the Changing Man. Additional ongoing series launched within the year included Kid Eternity, Sandman Mystery Theatre, and Black Orchid. Each of these series features a protagonist who at one time had been part of DC's main universe, and several of them brought with them established palettes of villains and rogues. Since many of Vertigo's first books are supernatural, a number of the line's original villains are also supernatural. Perhaps the most prototypical villain is Anton Arcane, the mad scientist turned demon who has plagued Swamp Thing in various incarnations throughout the character's history. The Sandman's rogues' gallery pulls from a broad spectrum of myth, folklore, and literature. Morpheus' most dangerous enemies are plucked from Norse mythology (Loki), fairy tales (the Cuckoo), and Shakespearean drama (Puck). John Constantine, the protagonist of Hellblazer, is locked in an unending struggle with the First of the Fallen, the biblical villain also known as Satan. The main villain in Shade, the Changing Man is the American Scream, the living embodiment of collective American madness. Often, traditional superhero rogues' galleries are inverted in Vertigo books. Before they officially became Vertigo books, both Doom Patrol and Animal Man were dramatically overhauled by writer Grant Morrison. In Animal Man, a book featuring a character who had once been a member of a superhero team called the Forgotten Heroes, Morrison used second-tier villains Psycho-Pirate and Mirror Master in clever, inventive ways, much as he used Animal Man himself. Doom Patrol, a historically significant team of outcast heroes reminiscent of Marvel's X-Men, once had an established, familiar lineup of rogues that Morrison altered drastically during his tenure on the book. The Brotherhood of Evil was replaced by the Brotherhood of Dada, a reference to an early twentiethcentury avant-garde art movement in Europe. Surreal villains such as the Scissormen (pulled from the German children's book Der Struwwelpeter), the Beard Hunter, and the Men from N.O.W.H.E.R.E. surfaced to torment the misfits and oddballs who comprised the Doom Patrol. Morrison's run set the intelligent, surrealistic tone that would characterize most of Vertigo's books from the very beginning of the line. Later superhero comics from Vertigo reflect the type of psychological complexity that Morrison introduced. The Scarab and Enigma, two early miniseries patterned on superhero comics, are more about the process of self-discovery than about inconsequential fights with costumed supervillains. Sandman Mystery Theatre features a number of pulp-noir villains whose names sound like Dick Tracy rogues (the Tarantula, the Face, the Brute, the Vamp, Dr. Death), but the book is more a love story than an adventure comic. Although many of Vertigo's early villains are rooted in horror and fantasy, the variety of Vertigo villains quickly expanded as the imprint's range of genres expanded. This shift is most clearly seen in a series of one-shot books released in 1995 under the subheading “Vertigo Voices.” In the Voices books, the main characters are also the villains. The Eaters features a family of cannibals on a road trip across the U.S.A. Tainted is a noir-ish psychodrama about a murderer who ends up mutilating himself in a horrific way. In Face, writer Peter Milligan speculates on what might happen if a millionaire art fanatic hired a plastic surgeon to turn his face into a Picasso work. Each of these stories is set in the “real” world, and each features realistic forms of evil and madness. Similar patterns are found in current series such as Brian Azzarello's 100 Bullets, a “real-world” revenge drama in which good and evil are subjective and ambiguous. Even a concept book such as Brian K. Vaughan's Y: The Last Man, which is in the mid-2000s one of Vertigo's most popular and widely acclaimed titles, is guided by a hypothetical realism that exposes the uglier, more sinister sides of human nature. In Vertigo books, the lines between good and evil, between sanity and madness, are blurred and broken down to such an extent that it is often hard to determine who the villains are. In fact, many of the books star heroes who might in fact be called villains in different circumstances. One of Vertigo's ongoing books, Lucifer, stars the familiar biblical antagonist who originally acted as a foil to Morpheus in Neil Gaiman's Sandman series. In two of Vertigo's longest-running series, Grant Morrison's The Invisibles and Garth Ennis and Steve Dillon's Preacher, the villains are extensive semi-fascist organizations led by deformed, tragicomic characters. The Grail, a clandestine cult organization dedicated to protecting the last descendant of the Son of God in Preacher, proves to be both incompetent and obscene. In The Invisibles, cells of revolutionary anarchists battle against forces of order and conformity (symbolized by the authoritarian Sir Miles and the impish, sadistic Mr. Quimper). Heroism and villainy resist expectations and traditional representations in these stories. In a 1996 “On the Ledge” column, Karen Berger wrote, “It's been three and a half years since Vertigo first launched, and what began as a line of horror and dark fantasy comics imbued with a real-world sensibility has gradually expanded to include a much broader spectrum of material, reflecting an eclectic range of attitudes and points of view.” Berger's assessment remains true in the mid-2000s. Whatever their genre, Vertigo books more often focus on the human than the superhuman. Accordingly, whether a book is a war drama or an urban romance, its threats and villains are more internal than external— more psychological than physical.
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