In recent years, DC’s Vertigo imprint has lost a bit of the sheen from its acclaimed run in the 1990s. Originally launched in 1993, the brand built on existing titles, such as Sandman and Hellblazer, to cultivate a line of titles which could, more or less, stand independent of DC’s superheroes in both form and content. This strategy was an immediate success. In the following years, Vertigo published the likes of The Invisibles, Preacher and Lucifer; their name quickly became synonymous with the cutting edge. However, as it often does, time can dull what was once trendsetting. Vertigo still produces some excellent comics, such as The Unwritten or The Sheriff of Babylon. Another example would be Saucer Country from the team of Paul Cornell and Ryan Kelly. Saucer Country was a deep dive into the heady realm of UFO mythology. Writer Cornell deftly avoided many of the common traps of the genre, keeping the reader on their toes while maintaining their engagement through compelling characters and themes. The series returns to shelves this Wednesday, after a four year hiatus; first though, an examination of what made the first volume of the title so memorable.