662 VAMPIRES AND ZOMBIES
In the 1980s and 1990s, there were several short-lived zombie series among the various
independent publishers but one series, was repeatedly revived, Deadworld (1987). First
published by Arrow Comics and created by Stuart Kerr and Ralph Griffi th, the series
was praised for its gore factor, compelling black and white art and complicated plot.
When Arrow Comics folded, Caliber Comics gained control of the title and fi nished
the initial series, released a series of one-shot issues and miniseries before relaunching
the series again in 1993. While the fi rst series lasted 26 issues, the second series lasted
only 15. However, Deadworld received another reprieve in 2005 when it was relicensed
and published as an ongoing series by Image Comics. Th e series revolved around a set
of characters trying to survive in a post-apocalyptic setting where the world is domi-
nated by both brain-dead and intelligent zombies, including King Zombie who seeks to
open a portal to another dimension.
Vampires also grew in popularity in the 1980s and 1990s, owing much to Anne Rice’s
Vampire Chronicles books and an inundation of vampire fi lms. Taking a lead from this
trend, independent publishers also launched new series and revamped old ones. Gary
Reed of Caliber Comics published a miniseries on Reinfeld, the servant of Dracula, and
the Vampirella series, now under Harris Comics, was relaunched as well as featured in
dozens of one-shot editions and cross-over series. Cassidy, an Irish vampire featured
prominently as a side-kick to Jesse Custer, the main character in the Eisner Award-
winning series, Preacher (1995).
An explosion of zombie stories occurred in the fi rst decade of the 2000s. Comics
featuring or centering on vampires had been continually increasing since the 1980s.
However, zombie narratives became very popular, very quickly, at this time. Of over
100 titles in which zombies feature prominently in the comic series published in
the last 50 years, over 70 were published in the 2000s. Many factors played a role,
including the disintegration of the Comics Code and the cultural legitimacy comics
were now receiving. Th e boost also stemmed from highly successful zombie fi lms in
the theaters including the release of Resident Evil (2002), 28 Days Later (2002), and
the remake of George R. Romero’s Dawn of the Dead (2004), all of which hit record
box-offi ce receipts that had not been seen for zombie fi lms since the original Dawn of
the Dead (1978).
Added to this, comics were experiencing a general horror renaissance that balanced
on several factors. IDW Publishing was hitting its stride publishing both original hor-
ror content including the vampire series, 30 Days of Night (2002), as well as licensed
titles based on television, movies, and video games such as Angel (2005), Underworld
(2003), and Silent Hill (2004). Steve Niles and Ben Templesmith (30 Days of Night)
quickly became very popular and were involved in numerous horror projects through-
out the 2000s. Niles’ miniseries Remains (2004) revolved around survivors of a zombie
apocalypse in the middle of a show-down of fast-moving zombies (represented in mov-
ies such as 28 Days Later and the 2004 Dawn of the Dead) and slow-shambling zombies
(also known as the classic Romero zombie). Th is marked the fi rst acknowledgement
and use of this shift in zombie abilities.
