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Brian Wood released his first comic book, Channel Zero in 1998. Prior to that he experimented with his specific style of graphic narrative and socio-political messaging as a student at Parsons School of Design. Prior to that, he was a bike messenger in NYC. Before that, he was a kid growing up in semi-rural Vermont.
After graduating college, he worked the dotcom boom for several years before settling into a design job on the Grand Theft Auto franchise at Rockstar Games. He continued his comics work at night and on the weekends, creating and writing The Couriers, Fight For Tomorrow, Pounded, Supermarket, Local, and expanded the world of Channel Zero with Jennie One and Public Domain. He went full-time with comics in 2003, the same month Demo #1 shipped.
From 2006-2012 he worked under an exclusive contact at DC Comics, writing 72 issues of DMZ, fifty issues of Northlanders, The New York Four, The New York Five, a Demo sequel, and a few projects for DC's Wildstorm imprint.
Post-DC Comics, he found a home at Dark Horse Comics, creating or co-creating The Massive, Rebels, Briggs Land, and Sword Daughter.
The Tourist, Mara, Starve, and Black Road were co-created and written for Image Comics.
For Marvel Comics, Brian wrote several X-Men universe books, including a high profile event series and a #1 selling relaunch. For Titan and Harmony Gold, Brian conceived and scripted a modern adaptation of Robotech. He also wrote for the Star Wars, Conan The Barbarian, EVE Online, Alien, Terminator, and Robocop franchises.
A full bibliography can be found here.
ART & DESIGN
With a degree in Illustration from Parsons School of Design, Brian Wood has produced art for his Channel Zero and DMZ books, covers for Warren Ellis' Global Frequency series at DC Comics, and logos and branding for virtually every comic he's created. In the video game world, he produced concept art and design for Rockstar Games and Eidos Interactive. He conceived and drew key art for Nike's "Shoxploitation" short film series, and did numerous magazine illustrations for Punk Planet, SF's Bay Guardian, Wired Magazine, Bail, and Kitchen Sink.
Having grown up around the DIY music, skate, and punk culture, his work developed completely analog, with ink and brush, thermal fax and photocopier, and glue and stencil. Now, while using modern tools, he still strives for the same aesthetic.
A gallery of visual works can be found here.