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TheBritish Invasion of American comic books is a term used to describe the influx in the late 1980s of British comic creators, especially writers. The creators initially worked in the employ ofDC Comics, but in recent years many have also worked forMarvel Comics.
Characteristics of the British Invasion included a greater sensitivity to language, more mature storylines, and a move away from thesuperhero genre. The invasion led DC Comics to create theVertigo imprint to target the mature audiences of these writers.
Prior to the start of the British Invasion, DC Comics had imported several British artists from the early 1980s to work on their comic books.Brian Bolland was at the vanguard of this influx. Others that followed includedDave Gibbons,Brendan McCarthy,Glenn Fabry,Steve Dillon, andPhilip Bond.[1]
The British Invasion itself is often cited as occurring in the wake ofAlan Moore's successful run onSwamp Thing and hisWatchmen series.[2] After Moore had a falling-out with DC and swore never to work for them again, DC editor (laterVertigo Group Editor)Karen Berger recruited many promising writers and artists from the UK. The names primarily associated with the invasion includeJamie Delano, who was approached by DC as the writer of theSwamp Thing spin offHellblazer;Neil Gaiman andDave McKean, who collaborated on theBlack Orchid limited series, as well as the famous and acclaimedSandman;Peter Milligan, who launched a newShade, the Changing Man series; and Scottish creatorGrant Morrison, whose pitch of anAnimal Man series was approved. Later British creators to work on American comics includeMark Millar,Warren Ellis,Garth Ennis andPaul Jenkins.
While some "British" writers such asChris Claremont (Claremont was born in England but spent all of his adult life in the United States) had already worked for American comic companies prior to Alan Moore, they are not associated with the British Invasion. One of the chief characteristics of the British Invasion group of writers that set them apart from others was their greater sensitivity to language. Before the British Invasions, writers in the American comic book industry were known as "ace storytellers but mediocre wordsmiths" because the "actual text" of their comic books were generally subordinate to the plot and storytelling.[3] With his work onSwamp Thing, Alan Moore revolutionised the American comic book industry through his use of "precise, naturalistic dialogue."[3] Another characteristic of the British Invasion was a move away from the superhero genre, although in this regard Grant Morrison was an exception.[3]