Wikipedia

DC Comics

(Redirected from Ame-Comi)
This is the latest accepted revision, reviewed on 29 November 2024.
This article is about the US publisher of comics. For the Scottish publisher of comics and newspapers, see DC Thomson. For the capital of the United States, see Washington, D.C.

DC Comics, Inc. (later simply known as DC) is an American comic book publisher and the flagship unit of DC Entertainment,[6][7] a subsidiary of Warner Bros. Discovery.[8][9] DC is an initialism for "Detective Comics", an American comic book series first published in 1937.[10]

DC Comics, Inc.
Parent company
StatusActive
Founded
FounderMalcolm Wheeler-Nicholson
Country of originUnited States
Headquarters location4000 Warner Blvd., Burbank, California
Distribution
Key people
Publication typesList of publications
Fiction genres
ImprintsList of imprints
No. of employeesapprox. 230[5]
Official websitedc.com

DC Comics is one of the largest and oldest American comic book companies, the first comic under the DC banner being published in 1937.[11] The majority of its publications are set in the fictional DC Universe and feature numerous culturally iconic heroic characters, such as Superman, Batman, Wonder Woman, Green Lantern, the Flash, Cyborg, and Aquaman; as well as famous fictional teams, including the Justice League, the Justice Society of America, the Teen Titans, and the Suicide Squad. The universe contains an assortment of well-known supervillains, such as the Joker, Lex Luthor, Deathstroke, the Reverse-Flash, Brainiac, and Darkseid. The company has published non-DC Universe-related material, including Watchmen, V for Vendetta, Fables, and many other titles, under the alternative imprint Vertigo and DC Black Label.

Originally at 432 Fourth Avenue in Manhattan, New York City, the company offices have been located at 480 and later 575 Lexington Avenue, 909 Third Avenue, 75 Rockefeller Plaza, 666 Fifth Avenue, and 1325 Avenue of the Americas. DC Comics was located at 1700 Broadway in Midtown Manhattan until April 2015, when DC Entertainment transferred its headquarters to Burbank, California.[12]

DC Comics books are distributed to the bookstore market by Penguin Random House Publisher Services.[13] The comics shop direct market was supplied by Diamond Comic Distributors[12][14] until June 2020, when Lunar Distribution and UCS Comic Distributors (who were by then dominating direct market distribution on account of the disruption to Diamond caused by the COVID-19 pandemic) replaced Diamond as the direct market distributor.[4]

In 2017, approximately 70% of the American comic book market was shared by DC Comics and its long-time major competitor Marvel Comics (acquired in 2009 by Warner Bros. Discovery's main competitor, The Walt Disney Company),[15] though this figure may be distorted by the fact that sales of graphic novels are excluded. When all book sales are included, DC is the second largest publisher of comic books, after Viz Media; and Marvel is third.[16]

History

edit

National Comics Publications

edit
Main articles: National Comics Publications and All-American Publications

Golden Age

edit
Main article: Golden Age of Comic Books
Pioneers of DC Comics who started in the 1930s[17]
           
Malcolm Wheeler-Nicholson Jerry Siegel Joe Shuster Bob Kane Bill Finger Sheldon Mayer Gardner Fox
Founder of DC Comics Creators of Superman Creators of Batman and the Joker Early founder Created various characters
 
Cover art of the first comic book by National Comics Publications, New Fun: The Big Comic Magazine #1 (cover date: February 1935). Unlike earlier comic book magazines series, characters in this book (such as the Western character Jack Wood) were original creations that were not taken from existing comic strips.[18]

In 1934, entrepreneur Major Malcolm Wheeler-Nicholson founded National Allied Publications, intended as an American comic book publishing company.[1][2][3] Its debut publication was the tabloid-sized New Fun: The Big Comic Magazine #1 (the first of a comic series later called More Fun Comics) with a February 1935 cover date. An anthology title, essentially for original stories not reprinted from newspaper strips, it was unlike many comic book series before it.[18][19] While DC Comics is now primarily associated with superhero comics, the genres in the first anthology titles consisted of funnies, Western comics, and adventure-related stories. The character Doctor Occult—created by Jerry Siegel and Joe Shuster in December 1935 and included in issue No. 6 of New Fun Comics—is considered to be the earliest recurring superhero created by DC that is still being used.[20][21] The company created a second recurring title called New Comics, first released in December 1935, which was the start of the long-running Adventure Comics series that also featured many anthology titles.[22] By 1936, the group had became Nicholson Publishing.[23]

Wheeler-Nicholson's next and final title, Detective Comics, was advertised with a cover illustration dated December 1936 but eventually premiered three months late with a March 1937 cover date. The themed anthology that revolved originally around fictional detective stories became in modern times the longest-running ongoing comic series. A notable debut in the first issue was Slam Bradley, created in a collaboration between Wheeler-Nicholson, Siegel and Shuster.[21] In 1937, in debt to printing-plant owner and magazine distributor Harry Donenfeld—who also published pulp magazines and operated as a principal in the magazine distributorship Independent News—Wheeler-Nicholson had to enter into partnership with Donenfeld to publish Detective Comics No. 1, and Detective Comics, Inc. (which helped inspire the abbreviation DC) was formed, with Wheeler-Nicholson and Donenfeld's accountant Jack S. Liebowitz listed as owners. As the company continued to experience cash-flow problems, Wheeler-Nicholson was forced out after the first year. Shortly afterwards, Detective Comics, Inc. purchased the remains of National Allied (also known as Nicholson Publishing) at a bankruptcy auction and absorbed it.[24][25]

Two famous superheroes—Superman and Batman—were brought to life in the American comic books Action Comics and Detective Comics.
 
Action Comics #1 (June 1938) introduced Superman and helped birth the superhero genre.
 
Detective Comics #27 (May 1939) featured the first appearance of Batman.

Meanwhile, Max Gaines formed the sister company All-American Publications in 1939.[26] Detective Comics, Inc. soon launched a new anthology title called Action Comics; the first issue, cover dated June 1938, featured new characters such as Superman by Siegel and Shuster, Zatara by Fred Guardineer, and Tex Thompson by Ken Finch and Bernard Baily. Considered as the first comic book to feature the character archetype later known as the "superhero", Action Comics was a sales hit that brought to life a new age of comic books, now affectionately termed the "Golden Age". Action Comics #1 is credited as featuring the first appearance of Superman, both on the cover illustration and inside the issue, and is now one of the most valuable and sought-after comic book issues of all time.[27] The first Superman tale included a superhero origin story with the reveal of an unnamed planet, later known as Krypton, where he is said to have originated. The issue also contained the first essential supporting character and one of the earliest female characters in any comic, with Lois Lane as Superman's first depicted romantic interest.[28] The Green Hornet-inspired character known as the Crimson Avenger by Jim Chamber was featured in Detective Comics No. 20 (October 1938). This character is known to be the first masked vigilante published by DC.[29][30] An unnamed "office boy", retconned as Jimmy Olsen's first appearance, was revealed in a Superman story by Siegel and Shuster in Action Comics No. 6 (November 1938).[31][32]

Starting in 1939, Siegel and Shuster's Superman was the first comic-derived character to appear in other formats, later featuring in his own newspaper comic strip, which first introduced his biological parents Jor-El and Lara.[33] All-American Publications' debut comic series, All-American Comics, was first published in April 1939.[28] The series Detective Comics made history as being the first to feature Batman—a Bob Kane and Bill Finger creation—in issue No.27 (March 1939) with the request of more superhero titles. Batman was depicted as a masked vigilante who wore a caped suit known as the Batsuit and drove a car that was later referred to as the Batmobile. The Batman story also included a supporting character called James Gordon, the police commissioner of what would later become Gotham City Police Department.[34] Despite being a parody, All-American Publications introduced the earliest female character who became the female superhero Red Tornado (though disguised as a male) in Ma Hunkel who first appeared in the "Scribbly" stories in All-American Comics No. 3 (June 1939).[35] Another important Batman debut was the introduction of the fictional mansion known as Wayne Manor first seen in Detective Comics No. 28 (June 1939).[34] The series Adventure Comics followed in the footsteps of Action Comics and Detective Comics by featuring a new recurring superhero called Sandman who first appeared in Adventure Comics No. 40 (July 1939).[36] Action Comics No. 13 (June 1939) introduced the first recurring Superman enemy referred to as the Ultra-Humanite; created by Siegel and Shuster, this is commonly cited as one of the earliest supervillains in comic books.[37] The Superman character had another breakthrough when he was given his own comic book series, which was previously unheard of.[38] The first issue, published in June 1939, helped directly introduce Superman's adoptive parents, Jonathan and Martha Kent, also created by Siegel and Shuster.[31] Detective Comics No. 29 (July 1939) included the first mention of Batman's utility belt by Gardner Fox.[39][34] Outside of DC's publishing, a character later integrated as DC was introduced by Fox Feature Syndicate named the Blue Beetle released in August 1939.[40][41] Fictional cities were a common theme of DC; the first revealed city was Superman's home city of Metropolis, originally named in Action Comics No. 16 (September 1939).[42][43] Detective Comics No. 31 (September 1939) by Gardner Fox, Bob Kane and Sheldon Moldoff introduced a romantic interest for Batman named Julie Madison, as well as the Batarang weapon that Batman commonly uses, and the fictional aircraft called the Batplane.[34] The story of Batman's origin was first shown in Detective Comics No. 33 (November 1939), which depicted the death of Thomas Wayne and Martha Wayne by a mugger. The origin story remained crucial for the fictional character after its inception.[18][44] The Daily Planet (a common setting of Superman) was first named in a Superman newspaper strip around November 1939.[45] Doll Man was the first superhero to be produced by Quality Comics, which DC now owns.[46][clarification needed] Fawcett Comics was formed around 1939 and became DC's original competitor company over the next decade.[47] At the end of 1944, All-American titles began using its own logo to distinguish it from the National comics.[48][49]

All-American Publications, an affiliate concern co-owned by Gaines and Liebowitz, merged with Detective Comics, Inc. on September 30, 1946, forming National Comics Publications.[a] The previous year, in June 1945, Gaines had allowed Liebowitz to buy him out and had retained only Picture Stories from the Bible as the foundation of his own new company, EC Comics.[51] At that point, "Liebowitz promptly orchestrated the merger of All-American and Detective Comics into National Comics... Next he took charge of organizing National Comics, [the self-distributorship] Independent News, and their affiliated firms into a single corporate entity, National Periodical Publications".[52] National Periodical Publications became publicly traded on the stock market in 1961.[53][54] Despite the official names "National Comics" and "National Periodical Publications", the company began branding itself as "Superman-DC" as early as 1940 and became known colloquially as DC Comics for years before the official adoption of that name in 1977.[55]

DC Comics began to move aggressively against what it saw as copyright-violating imitations from other companies, such as Fox Comics' Wonder Man, which (according to court testimony) Fox started as a copy of Superman. This extended to DC suing Fawcett Comics over Captain Marvel, who was at the time the top-selling comic character (see National Comics Publications, Inc. v. Fawcett Publications, Inc.). Faced with declining sales and the prospect of bankruptcy if it lost the lawsuit, Fawcett capitulated in 1953 and ceased publishing comics. Years later, Fawcett sold the rights for Captain Marvel to DC Comics, and in 1972 the character was revived in DC's new title Shazam!,[56] which featured artwork by Captain Marvel's creator C. C. Beck. In the meantime, the abandoned 'Marvel' trademark had been seized by Marvel Comics in 1967, with the creation of their Captain Marvel, preventing DC from using the name in the title of their own comic series. While DC's Captain Marvel failed to recapture his earlier popularity, he later appeared in a Saturday morning live action TV adaptation and gained a prominent position in the mainstream continuity of the DC Universe.

As the popularity of superheroes faded in the late 1940s, DC Comics focused on such genres as science fiction, Westerns, humor, and romance. The company also published crime and horror titles, although relatively tame contributions that avoided the mid-1950s backlash against such comic genres. A handful of the most popular superhero titles continued publication, including Action Comics and Detective Comics, the medium's two longest-running titles.

Silver Age

edit
Main article: Silver Age of Comic Books

In the mid-1950s, editorial director Irwin Donenfeld and publisher Liebowitz directed editor Julius Schwartz (whose roots lay in the science-fiction book market) to produce a one-shot Flash story in the try-out title Showcase. Instead of reviving the old character, Schwartz had writers Robert Kanigher and John Broome, penciler Carmine Infantino, and inker Joe Kubert create an entirely new super-speedster, updating and modernizing the Flash's civilian identity, costume, and origin with a science-fiction bent. The Flash's reimagining in Showcase No. 4 (October 1956) proved sufficiently popular that it soon led to a similar revamping of the Green Lantern character, the introduction of the modern all-star team Justice League of America (JLA), and many more superheroes, heralding what historians and fans call the Silver Age of Comic Books.

National radically overhauled its continuing characters—primarily Superman, Batman, and Wonder Woman—rather than just reimagining them. The Superman family of titles, under editor Mort Weisinger, introduced such enduring characters as Supergirl, Bizarro, and Brainiac. The Batman titles, under editor Jack Schiff, introduced the successful Batwoman, Bat-Girl, Ace the Bat-Hound, and Bat-Mite in an attempt to modernize the strip with non-science-fiction elements. Schwartz and Infantino then revitalized Batman in what the company promoted as the "New Look", with relatively down-to-earth stories re-emphasizing Batman as a detective. Meanwhile, editor Kanigher successfully introduced a whole family of Wonder Woman characters having fantastic adventures in a mythical realm.

Since the 1940s, when Superman, Batman, and many of the company's other heroes began appearing in stories together, DC's characters have inhabited a shared continuity that was later dubbed the "DC Universe" by fans. With the story "Flash of Two Worlds", in Flash No. 123 (September 1961), editor Schwartz (with writer Gardner Fox and artists Infantino and Joe Giella) presented a conceptual mechanism for slotting the 1930s and 1940s Golden Age heroes into this continuity using the explanation that they inhabited an other-dimensional "Earth 2", whilst the modern heroes exist on "Earth 1", consequently laying the foundations of what was later called the DC Multiverse.

National Periodical Publications

edit

DC's introduction of the reimagined superheroes did not go unnoticed by their competitors. In 1961, with DC's JLA as the specific inducement,[b] Marvel Comics' writer-editor Stan Lee and artist Jack Kirby ushered in the sub-Silver Age "Marvel Age" of comics with the debut issue of The Fantastic Four.[58] Reportedly, DC dismissed the initial success of Marvel's editorial change until its consistently strengthening sales—albeit also benefiting DC's parent company Independent News, as Marvel's distributor—made it impossible to ignore. This commercial situation was highlighted by Marvel's superior sell-through percentage numbers which were typically 70% to DC's roughly 50%, meaning that DC's publications were barely making a profit after returns from the distributors were factored in, while Marvel was making a healthy profit by comparison.[59] Also in 1961, both DC and Marvel increased their cover price from ten cents to twelve cents, while the rival publisher Dell Comics was charging fifteen cents.[60]

At this time, the senior DC staff were reportedly unable to explain how this small publishing house was achieving its increasingly threatening commercial strength. For instance, when Marvel's product was examined in a meeting, the emphasis on more sophisticated character-based narrative and artist-driven visual storytelling was apparently overlooked. Instead, superficial reasons were put forward to account for the brand's popularity, like the presence of the color red or word balloons on the cover, or that the perceived crudeness of the interior art was somehow more appealing to readers. When Lee learned about DC's subsequent experimental attempts to imitate these perceived details, he amused himself by arranging direct defiance of those assumptions in Marvel's publications as sales strengthened further to frustrate the competition.[61]

However, this ignorance of Marvel's true appeal did not extend to some of the writing talent during this period, and attempts were made to emulate Marvel's narrative approach. For instance, there was the Doom Patrol series by Arnold Drake (who had previously warned DC's management about Marvel's strength),[62] a superhero team of outsiders who resented their freakish powers,[63] which Drake later speculated was plagiarized by Stan Lee to create The X-Men.[64] There was also the young Jim Shooter who purposely emulated Marvel's writing when he wrote for DC after studying both companies' styles, such as for the Legion of Super-Heroes feature.[65] In 1966, National Periodical Publications established its own television arm, led by Allen Ducovny, to develop and produce TV projects, with Superman TV Corporation handling the distribution of NPP's shows.[66]

A 1966 Batman TV show on the ABC network sparked a temporary spike in comic book sales and a brief fad for superheroes in Saturday morning animation (Filmation produced most of DC's initial cartoons) and other media. DC significantly lightened the tone of many of its comics—particularly Batman and Detective Comics—to better complement the "camp" tone of the TV series. This change in tone coincided with the prominent "Go-Go Checks" cover-dress that featured a black-and-white checkered strip at the top of each DC comic (all cover dates between February 1966 and August 1967), a misguided attempt by then-managing editor Irwin Donenfeld to make DC's output "stand out on the newsracks".[67] In particular, DC artist Carmine Infantino complained that the distinctive cover made it easier for readers to spot DC's titles and avoid them in favor of Marvel's titles.[68]

In 1967, Infantino (who had designed popular Silver Age characters Batgirl and the Phantom Stranger) rose from art director to become DC's editorial director. With the growing popularity of upstart rival Marvel Comics threatening to topple DC from its longtime number-one position in the comics industry, he tried to direct DC's focus towards marketing new and existing titles and characters with more adult sensibilities, aimed at an emerging older age group of superhero comic book fans; this was in response to Marvel's efforts to market their superhero line to college-aged adults. Infantino also recruited major talents such as ex-Marvel artist and Spider-Man co-creator Steve Ditko, and promising newcomers Neal Adams and Denny O'Neil, and he replaced some existing DC editors with artist-editors, including Joe Kubert and Dick Giordano, to give DC's output a more artistic critical eye.[citation needed]

Kinney National / Warner Communications (1967–1990)

edit

In 1967, National Periodical Publications was purchased by Kinney National Company,[69] which purchased Warner Bros.-Seven Arts in 1969. Kinney National spun off its non-entertainment assets in 1972 (as National Kinney Corporation) and changed its name to Warner Communications Inc.

In 1970, Jack Kirby moved from Marvel Comics to DC, at the end of the Silver Age of Comics, in which Kirby's contributions to Marvel played a large, integral role.

As artist Gil Kane described:

Jack was the single most influential figure in the turnaround in Marvel's fortunes from the time he rejoined the company ... It wasn't merely that Jack conceived most of the characters that are being done, but ... Jack's point of view and philosophy of drawing became the governing philosophy of the entire publishing company and, beyond the publishing company, of the entire field ... [Marvel took] Jack and use[d] him as a primer. They would get artists ... and they taught them the ABCs, which amounted to learning Jack Kirby ... Jack was like the Holy Scripture and they simply had to follow him without deviation. That's what was told to me ... It was how they taught everyone to reconcile all those opposing attitudes to one single master point of view.[70]

Given carte blanche to write and illustrate his own stories, he created a handful of thematically-linked series he called collectively "The Fourth World". In the existing series Superman's Pal Jimmy Olsen and in his own, newly-launched series New Gods, Mister Miracle, and The Forever People, Kirby introduced such enduring characters and concepts as arch-villain Darkseid and the other-dimensional realm Apokolips. Furthermore, Kirby intended their stories to be reprinted in collected editions, in a publishing format that was later called the trade paperback, which became a standard industry practice decades later. While sales were respectable, they did not meet DC management's initially high expectations, and also suffered from a lack of comprehension and internal support from Infantino. By 1973 the "Fourth World" was all cancelled, although Kirby's conceptions soon became integral to the broadening of the DC Universe, especially after the major toy-company, Kenner Products, judged them ideal for their action-figure adaptation of the DC Universe, the Super Powers Collection.[71] Obligated by his contract, Kirby created other unrelated series for DC, including Kamandi, The Demon, and OMAC, before ultimately returning to Marvel Comics in 1976.

Bronze Age

edit
Main article: Bronze Age of Comic Books

Following the science-fiction innovations of the Silver Age, the comics of the 1970s and 1980s became known as the Bronze Age, as fantasy gave way to more naturalistic and sometimes darker themes. Illegal drug use, banned by the Comics Code Authority, explicitly appeared in comics for the first time in Marvel Comics' story "Green Goblin Reborn!" in The Amazing Spider-Man No. 96 (May 1971), and after the Code's updating in response, DC offered a drug-fueled storyline in writer Dennis O'Neil and artist Neal Adams' Green Lantern, beginning with the story "Snowbirds Don't Fly" in the retitled Green Lantern / Green Arrow No. 85 (September 1971), which depicted Speedy, the teen sidekick of superhero archer Green Arrow, as having become a heroin addict.

Jenette Kahn, a former children's magazine publisher, replaced Infantino as editorial director in January 1976. As it happened, her first task even before being formally hired, was to convince Bill Sarnoff, the head of Warner Publishing, to keep DC as a publishing concern, as opposed to simply managing their licensing of their properties.[72] With that established, DC had attempted to compete with the now-surging Marvel by dramatically increasing its output and attempting to win the market by flooding it. This included launching series featuring such new characters as Firestorm and Shade, the Changing Man, as well as an increasing array of non-superhero titles, in an attempt to recapture the pre-Wertham days of post-War comicdom.

DC Comics

edit

In 1977, the company officially changed its name to DC Comics.[73] It had used the brand "Superman-DC" since the 1950s, and was colloquially known as DC Comics for years.[74]

In June 1978, five months before the release of the first Superman film, Kahn expanded the line further, increasing the number of titles and story pages, and raising the price from 35 cents to 50 cents. Most series received eight-page back-up features while some had full-length twenty-five-page stories. This was a move the company called the "DC Explosion".[75] The move was not successful, however, and corporate parent Warner dramatically cut back on these largely unsuccessful titles, firing many staffers in what industry watchers dubbed "the DC Implosion".[76] In September 1978, the line was dramatically reduced and standard-size books returned to 17-page stories but for a still increased 40 cents.[77] By 1980, the books returned to 50 cents with a 25-page story count but the story pages replaced house ads in the books.

Seeking new ways to boost market share, the new team of publisher Kahn, vice president Paul Levitz, and managing editor Giordano addressed the issue of talent instability. To that end—and following the example of Atlas/Seaboard Comics[78] and such independent companies as Eclipse Comics—DC began to offer royalties in place of the industry-standard work-for-hire agreement in which creators worked for a flat fee and signed away all rights, giving talent a financial incentive tied to the success of their work. As it happened, the implementation of these incentives proved opportune considering Marvel Comics' Editor-in-Chief, Jim Shooter, was alienating much of his company's creative staff with his authoritarian manner and major talents there went to DC like Roy Thomas, Gene Colan, Marv Wolfman, and George Pérez.[79]

In addition, emulating the era's new television form, the miniseries while addressing the matter of an excessive number of ongoing titles fizzling out within a few issues of their start, DC created the industry concept of the comic book limited series. This publishing format allowed for the deliberate creation of finite storylines within a more flexible publishing format that could showcase creations without forcing the talent into unsustainable open-ended commitments. The first such title was World of Krypton in 1979, and its positive results led to subsequent similar titles and later more ambitious productions like Camelot 3000 for the direct market in 1982.[80]

These changes in policy shaped the future of the medium as a whole, and in the short term allowed DC to entice creators away from rival Marvel, and encourage stability on individual titles. In November 1980 DC launched the ongoing series The New Teen Titans, by writer Marv Wolfman and artist George Pérez, two popular talents with a history of success. Their superhero-team comic, superficially similar to Marvel's ensemble series X-Men, but rooted in DC history, earned significant sales[81] in part due to the stability of the creative team, who both continued with the title for six full years. In addition, Wolfman and Pérez took advantage of the limited-series option to create a spin-off title, Tales of the New Teen Titans, to present origin stories of their original characters without having to break the narrative flow of the main series or oblige them to double their work load with another ongoing title.

Modern Age

edit
Main article: Modern Age of Comic Books

This successful revitalization of the Silver Age Teen Titans led DC's editors[82] to seek the same for the wider DC Universe. The result, the Wolfman/Pérez 12-issue limited series Crisis on Infinite Earths, gave the company an opportunity to realign and jettison some of the characters' complicated backstory and continuity discrepancies. A companion publication, two volumes entitled The History of the DC Universe, set out the revised history of the major DC characters. Crisis featured many key deaths that shaped the DC Universe for the following decades, and it separated the timeline of DC publications into pre- and post-"Crisis".

Meanwhile, a parallel update had started in the non-superhero and horror titles. Since early 1984, the work of British writer Alan Moore had revitalized the horror series The Saga of the Swamp Thing, and soon numerous British writers, including Neil Gaiman and Grant Morrison, began freelancing for the company. The resulting influx of sophisticated horror-fantasy material led to DC in 1993 establishing the Vertigo mature-readers imprint, which did not subscribe to the Comics Code Authority.[83]

Two DC limited series, Batman: The Dark Knight Returns by Frank Miller and Watchmen by Moore and artist Dave Gibbons, drew attention in the mainstream press for their dark psychological complexity and promotion of the antihero.[84] These titles helped pave the way for comics to be more widely accepted in literary-criticism circles and to make inroads into the book industry, with collected editions of these series as commercially successful trade paperbacks.[85]

The mid-1980s also saw the end of many long-running DC war comics, including series that had been in print since the 1960s. These titles, all with over 100 issues, included Sgt. Rock, G.I. Combat, The Unknown Soldier, and Weird War Tales.

Time Warner / Time Warner Entertainment / AOL Time Warner (1990–2018)

edit

In March 1989, Warner Communications merged with Time Inc., making DC Comics a subsidiary of Time Warner. In June, the first Tim Burton-directed Batman film was released, and DC began publishing its hardcover series of DC Archive Editions; these were collections of many of their early, key comics series, featuring rare and expensive stories previously unseen by the majority of modern fans. Much of the restoration work was handled by Rick Keene, with colour restoration performed by DC's long-time resident colourist Bob LeRose. The Archive Editions attempted to retroactively credit many of the writers and artists who had worked for DC without receiving much recognition during the early age of comic books when individual credits were rare.

The comics industry experienced a brief boom in the early 1990s, thanks to a combination of speculative purchasing—mass purchase of the books as collectible items, with the intention to resell at a higher value (as the rising value of older issues was thought to imply that all comics would rise dramatically in price)—and several storylines gaining attention from the mainstream media. DC's extended storylines in which Superman was killed, Batman was crippled, and Green Lantern turned into the supervillain Parallax, resulted in dramatically increased sales. However, the increases were temporary, and sales dropped off as the industry went into a major slump, while manufactured "collectables" numbering in the millions replaced quality with quantity until fans and speculators alike deserted the medium in droves.

DC's Piranha Press and other imprints (including the mature readers' line Vertigo, and Helix, a short-lived science fiction imprint) were introduced to facilitate compartmentalized diversification and allow for specialized marketing of individual product lines. They increased the use of non-traditional contractual arrangements, including the dramatic rise of creator-owned projects, leading to a significant increase in critically lauded work (much of it for Vertigo) and the licensing of material from other companies. DC also increased publication of book-store friendly formats, including trade paperback collections of individual serial comics, as well as original graphic novels.

One of the other imprints was Impact Comics from 1991 to 1992 in which the Archie Comics superheroes were licensed and revamped.[86][87] The stories in the line were part of its own shared universe.[88]

DC entered into a publishing agreement with Milestone Media that gave DC a line of comics featuring a culturally and racially diverse range of superhero characters. Although the Milestone line ceased publication after a few years, it yielded the popular animated series Static Shock. DC established Paradox Press to publish material such as the large-format Big Book of... series of multi-artist interpretations on individual themes, and such crime fiction as the graphic novel Road to Perdition. In 1998, DC purchased WildStorm Comics, Jim Lee's imprint under the Image Comics banner, continuing it for many years as a wholly separate imprint (and fictional universe) with its own unique style and audience. As part of this purchase, DC also began to publish titles under the fledgling WildStorm sub-imprint America's Best Comics (ABC), a series of titles created by Alan Moore which included The League of Extraordinary Gentlemen, Tom Strong, and Promethea. Moore strongly opposed this move, and DC eventually stopped publishing ABC.

In March 2003, DC acquired publishing and merchandising rights to the long-running fantasy series Elfquest, previously self-published by creators Wendy and Richard Pini under their WaRP Graphics publication banner. This series then followed another non-DC title, Tower Comics' series T.H.U.N.D.E.R. Agents, in collection into DC Archive Editions. In 2004, DC temporarily acquired the North American publishing rights to graphic novels from European publishers 2000 AD and Humanoids. It also rebranded its younger-audience titles with the mascot Johnny DC and established the CMX imprint to reprint translated manga. In 2006, CMX took over from Dark Horse Comics' publication of the webcomic Megatokyo in print form. DC also took advantage of the demise of Kitchen Sink Press and acquired the rights to much of the work of Will Eisner, such as his The Spirit series and his graphic novels.

In 2004, DC began laying the groundwork for a full continuity-reshuffling sequel to Crisis on Infinite Earths, promising substantial changes to the DC Universe (and side-stepping the 1994 Zero Hour event which similarly tried to ret-con the history of the DCU). In 2005, the critically lauded Batman Begins film was released; also, the company published several limited series establishing increasingly escalating conflicts among DC's heroes, with events climaxing in the Infinite Crisis limited series. Immediately after this event, DC's ongoing series jumped forward a full year in their in-story continuity, as DC launched a weekly series, 52, to gradually fill in the missing time. Concurrently, DC lost the copyright to "Superboy" (while retaining the trademark) when the heirs of Jerry Siegel used a provision of the 1976 revision to the copyright law to regain ownership.

In 2005, DC launched its "All-Star" line (evoking the title of the 1940s publication), designed to feature some of the company's best-known characters in stories that eschewed the long and convoluted continuity of the DC Universe. The line began with All-Star Batman & Robin the Boy Wonder and All-Star Superman, and All-Star Wonder Woman and All-Star Batgirl was announced in 2006, but neither of these stories had been released or scheduled as of the end of 2009.[89]

By 2007, DC was licensing characters from the Archie Comics imprint Red Circle Comics.[90] They appeared in the Red Circle line, based in the DC Universe, with a series of one-shots followed by a miniseries that led into two ongoing titles that each lasted for ten issues.[88][91]

DC Entertainment

edit

In 2011, DC rebooted all of its running titles following the Flashpoint storyline. The reboot called The New 52 gave new origin stories and costume designs to many of DC's characters.

DC licensed pulp characters including Doc Savage and the Spirit which it then used, along with some DC heroes, as part of the First Wave comics line launched in 2010 and lasting through fall 2011.[92][93][94]

In May 2011, DC announced it would begin releasing digital versions of their comics on the same day as paper versions.[95]

On June 1, 2011, DC announced that it would end all ongoing series set in the DC Universe in August and relaunch its comic line with 52 issue #1s, starting with Justice League on August 31 (written by Geoff Johns and drawn by Jim Lee), with the rest to follow later on in September.[96][97]

On June 4, 2013, DC unveiled two new digital comic innovations to enhance interactivity: DC2 and DC2 Multiverse. DC2 layers dynamic artwork onto digital comic panels, adding a new level of dimension to digital storytelling, while DC2 Multiverse allows readers to determine a specific story outcome by selecting individual characters, storylines and plot developments while reading the comic, meaning one digital comic has multiple outcomes. DC2 appeared in the digital-first title, Batman '66, based on the 1960s television series and DC2 Multiverse appeared in Batman: Arkham Origins, a digital-first title based on the video game of the same name.[98]

In 2014, DC announced an eight-issue miniseries titled Convergence which began in April 2015.[99][100][101][102]

In 2016, DC announced a line-wide relaunch titled DC Rebirth.[103] The new line would launch with an 80-page one-shot titled DC Universe: Rebirth, written by Geoff Johns, with art from Gary Frank, Ethan Van Sciver, and more. After that, many new series would launch with a twice-monthly release schedule and new creative teams for nearly every title. The relaunch was meant to bring back the legacy and heart many felt had been missing from DC characters since the launch of the New 52. Rebirth brought huge success, both financially and critically.[104][105][106]

WarnerMedia / Warner Bros. Discovery unit (2018–present)

edit

On February 21, 2020, the Co-Publisher of DC Comics, Dan DiDio stepped down after 10 years at that position. The company did not give a reason for the move, nor did it indicate whether it was his decision or the company's. The leadership change was the latest event in the company restructuring which began the previous month, as several top executives were laid off from the company.[107][108] However, Bleeding Cool reported that he was fired.[109]

In June 2020, Warner Bros. announced a separate DC-themed online-only convention. Known as DC FanDome, the free "immersive virtual fan experience" was a 24-hour-long event held on August 22, 2020.[110] The main presentation, entitled "DC FanDome: Hall of Heroes", was held as scheduled on August 22.[111] The remaining programming was provided through a one-day video on demand experience, "DC FanDome: Explore the Multiverse", on September 12.

As Warner Bros. and DC's response to San Diego Comic-Con's cancellation due to the COVID-19 pandemic, the convention featured information about DC-based content including the DC Extended Universe film franchise, the Arrowverse television franchise, comic books, and video games. The convention also returned for the virtual premiere of Wonder Woman 1984[112] and returned once again on October 16, 2021.[113]

In August 2020, roughly one-third of DC's editorial ranks were laid off, including the editor-in-chief, senior story editor, executive editor, and several senior VPs.[114]

In March 2021, DC relaunched their entire line once again under the banner of Infinite Frontier. After the events of the Dark Nights: Death Metal storyline, the DC Multiverse was expanded into a larger "Omniverse" where everything is canon, effectively reversing the changes The New 52 introduced a decade prior.[115]

Furthermore, AT&T spun off WarnerMedia to Discovery, forming Warner Bros. Discovery. This merger was completed on April 8, 2022.

In January 2023, DC relaunched their line under the banner of Dawn of DC following the conclusion of Dark Crisis on Infinite Earths and Lazarus Planet.[116] Later that year, Jim Lee was promoted to President of DC in May.[117]

edit
  • The November 1941 DC titles introduced an updated logo. This was almost twice the size of the previous version and the first with a white background. The name "Superman" was added to "A DC Publication", effectively acknowledging both Superman and Batman. This logo was the first to occupy the top-left corner of the cover, which is where the logo has generally resided ever since. The company began to refer to itself in its advertising as "Superman-DC".[118]
  • When Jenette Kahn became DC's publisher in late 1976, she commissioned graphic designer Milton Glaser to design a new company logo. Popularly referred to as the "DC bullet", this logo premiered on the February 1977 titles. Although it varied in size and colour, was at times cropped by the edges of the cover, and was briefly rotated by 4 degrees, the logo remained essentially unchanged for almost three decades. Despite the various logo changes since 2005, the old "DC bullet" continues to be used only on the DC Archive Editions series.[119]
  • On May 8, 2005, a new logo (dubbed the "DC spin") was unveiled, debuting on DC titles in June 2005 with DC Special: The Return of Donna Troy No. 1 and the rest of the titles the following week. As well as being used for comics, the new logo was designed for DC properties in other media, including films since Batman Begins (with Superman Returns showing the logo's normal variant), the TV series Smallville, the animated series Justice League Unlimited and others, as well as for collectibles and other merchandise. The "DC Spin" logo was designed by Josh Beatman of Brainchild Studios[120] and DC executive Richard Bruning.[121]
  • In March 2012, DC unveiled a new logo designed by Landor Associates, which consists of a letter "D" peeling back to reveal the letter "C". The logo was intended to signify the concept of superheroes having "dual" identities and was adaptable across different mediums.[122]
  • In May 2016, in conjunction with the DC Rebirth, DC replaced the "peel" logo with a circular logo reminiscent of the 1972 logo.[123]
  • In July 2024, an updated version of Glaser's 1977 "Bullet" logo was unveiled during San Diego Comic-Con, as well as an accompanying intro sequence featuring Superman for DC Studios.[124]
edit
  •  
    1977–2005, aka the "DC Bullet" (first era logo)
  •  
    2005–2012, aka the "DC Spin" logo
  •  
    2016–2024, logo introduced with the DC Rebirth relaunch
  •  
    2024–present, aka the "DC Bullet" (second era / return logo)

Imprints

edit
Main article: List of DC Comics imprints

Active

edit

Defunct

edit

See also

edit

Notes

edit
  1. ^ In a 1947–1948 lawsuit filed by Jerry Siegel and Joe Shuster against National, the presiding judge noted in a "Findings of Facts": "DETECTIVE COMICS, INC. was a corporation duly organized and existing under the laws of the State of New York, and was one of the constituent corporations consolidated on September 30, 1946 into defendant NATIONAL COMICS PUBLICATIONS, INC."[50]
  2. ^ Apocryphal legend has it that in 1961, either Jack Liebowitz or Irwin Donenfeld of DC Comics (then known as National Periodical Publications) bragged about DC's success with the Justice League (which had debuted in The Brave and the Bold No. 28 (February 1960) before going on to its own title) to publisher Martin Goodman (whose holdings included the nascent Marvel Comics, which was being distributed by DC's Independent News at this time) during a game of golf.

    However, film producer and comics historian Michael Uslan partly debunked the story in a letter published in Alter Ego No. 43 (December 2004), pp. 43–44

    Irwin said he never played golf with Goodman, so the story is untrue. I heard this story more than a couple of times while sitting in the lunchroom at DC's 909 Third Avenue and 75 Rockefeller Plaza office as Sol Harrison and [production chief] Jack Adler were schmoozing with some of us ... who worked for DC during our college summers ... [T]he way I heard the story from Sol was that Goodman was playing with one of the heads of Independent News, not DC Comics (though DC owned Independent News) ... As the distributor of DC Comics, this man certainly knew all the sales figures and was in the best position to tell this tidbit to Goodman. ... Of course, Goodman would want to be playing golf with this fellow and be in his good graces ... Sol worked closely with Independent News' top management over the decades and would have gotten this story straight from the horse's mouth.

    Goodman, a publishing trend-follower who was aware of DC's strong JLA sales, confirmably directed his comics editor, Stan Lee, to create a comic-book series about a team of superheroes. According to Lee: "Martin mentioned that he had noticed one of the titles published by National Comics seemed to be selling better than most. It was a book called The [sic] Justice League of America and it was composed of a team of superheroes. ... ' If the Justice League is selling ', spoke he, 'why don't we put out a comic book that features a team of superheroes?'"[57]

Citations

edit
  1. ^ a b Marx, Barry, Cavalieri, Joey and Hill, Thomas (w), Petruccio, Steven (a), Marx, Barry (ed). "Major Malcolm Wheeler-Nicholson: DC Founded" Fifty Who Made DC Great: 5 (1985), DC Comics
  2. ^ a b Goulart, Ron (1986). Ron Goulart's Great History of Comics Books. Contemporary Press. p. 55. ISBN 0-8092-5045-4.
  3. ^ a b Benton, Mike (1989). The Comic Book in America: An Illustrated History. Dallas, Texas: Taylor Publishing. pp. 17–18. ISBN 978-0-87833-659-3.
  4. ^ a b McMillan, Graeme (June 5, 2020). "DC Cut Ties with Diamond Comic Distributors". The Hollywood Reporter. Archived from the original on June 5, 2020. Retrieved June 6, 2020.
  5. ^ McMillan, Graeme (January 23, 2019). "DC Publishing Laying Off 3 Percent of Its Workforce". The Hollywood Reporter. Archived from the original on September 18, 2020. Retrieved August 13, 2020.
  6. ^ Melrose, Kevin (October 10, 2009). "DC Entertainment – what we know so far". Comic Book Resources. Archived from the original on September 13, 2009. Retrieved December 13, 2021.
  7. ^ "DC Entertainment Expands Editorial Leadership Team". DC.com (Press release). May 5, 2017. Archived from the original on May 13, 2017. Retrieved May 11, 2017.
  8. ^ Brent Lang; Matt Donnelly (April 14, 2022). "Warner Bros. Discovery Exploring Overhaul of DC Entertainment (EXCLUSIVE)". Variety. Archived from the original on April 14, 2022. Retrieved April 17, 2022.
  9. ^ Fuster, Jeremy; Gonzalez, Umberto (June 1, 2022). "Inside David Zaslav's Overhaul of the Warner Bros. Movie Division | Analysis". TheWrap. Archived from the original on June 5, 2022. Retrieved June 5, 2022.
  10. ^ Jung, Michael (May 7, 2020). "What Does DC Comics Stand For?". ScreenRant. Archived from the original on April 29, 2021. Retrieved March 2, 2024.
  11. ^ Galloway, Ryan (July 5, 2021). "What Was The First DC Comic?". We Got This Covered. Archived from the original on September 11, 2021. Retrieved September 11, 2021.
  12. ^ a b "DC Comics Inc". hoovers.com/dc-comics-inc. Archived from the original on September 21, 2008. Retrieved October 18, 2008.
  13. ^ Reid, Calvin (September 5, 2017). "DC Comics, Random House Ink Distribution Pact". Publishers Weekly. Archived from the original on August 2, 2017. Retrieved July 11, 2017.
  14. ^ "Welcome to Diamond Comic Distributors' Retailer Services Website!". retailer.diamondcomics.com. June 30, 2017. Archived from the original on June 30, 2017. Retrieved July 11, 2017.
  15. ^ Miller, John. "2017 Comic Book Sales to Comics Shops". Comichron. Archived from the original on January 23, 2018. Retrieved January 23, 2018. Share of Overall Units—Marvel 38.30%, DC 33.93%; Share of Overall Dollars—Marvel 36.36%, DC 30.07%
  16. ^ Magulick, Aaron (October 8, 2017). "Viz Manga Sales are Destroying DC, Marvel in Comic Market". goboiano.com. Archived from the original on October 10, 2017. Retrieved October 10, 2017.
  17. ^ Fifty Who Made DC Great
  18. ^ a b c "The 100 Most Influential Pages in Comic Book History". Vulture. April 16, 2018. Archived from the original on June 24, 2020. Retrieved February 22, 2020.
  19. ^ "New Fun #1 (Feb. 1935)". Grand Comics Database. The entry notes that while the logo appears to be simply Fun, the indicia reads, "New FUN is published monthly at 49 West 45th Street, New York, N.Y., by National Allied Publications, Inc.; Malcolm Wheeler-Nicholson, President ... Inquiries concerning advertising should be addressed to the Advertising Manager, New FUN,...."
  20. ^ Wolk, Douglas (July 5, 2010). "75 Years of the First Comic Book Superhero (It's Not Who You Think)". Time. Archived from the original on February 22, 2020. Retrieved February 22, 2020.
  21. ^ a b Wilson, John (December 16, 2019). "10 Things Everyone Forgets About DC's Dr. Occult". CBR. Archived from the original on February 22, 2020. Retrieved February 22, 2020.
  22. ^ "New Comics". Grand Comics Database. Archived from the original on December 31, 2012.
  23. ^ Fertig, Mark (2017). Take That, Adolf!: The Fighting Comic Books of the Second World War. Fantagraphics Books. ISBN 9781606999875.
  24. ^ Jones 2004, p. 125.
  25. ^ Klein, Todd (July 8, 2013). "The DC Comics Offices 1930s-1950s Part 1". Todd's Blog. Retrieved July 1, 2024.
  26. ^ Jones 2004, p. 147.
  27. ^ "Superman's debut sells for $1M at auction". Crain's New York Business. Associated Press. February 22, 2010. Archived from the original on March 11, 2010.
  28. ^ a b Wallace, Daniel; Dolan, Hannah (2010). "1930s". DC Comics Year By Year A Visual Chronicle. London, United Kingdom: Dorling Kindersley. p. 20. ISBN 978-0-7566-6742-9.
  29. ^ Cronin, Brian (January 20, 2018). "Who Was the First Comic Book Masked Vigilante?". CBR. Archived from the original on February 22, 2020. Retrieved February 22, 2020.
  30. ^ Hall, Richard A. (2019). The American Superhero: Encyclopedia of Caped Crusaders in History. ABC-CLIO. ISBN 9781440861246.
  31. ^ a b Wallace, Daniel (2013). Superman: The Ultimate Guide to the Man of Steel. London, United Kingdom: Dorling Kindersley. p. 126. ISBN 978-1465408754.
  32. ^ "Jimmy Olsen". dcuniverse.com. Archived from the original on February 22, 2020. Retrieved February 22, 2020.
  33. ^ Tumey, Paul. "Superman: The Golden Age Sundays 1943–1946". The Comics Journal. Archived from the original on May 29, 2014. Retrieved April 3, 2019.
  34. ^ a b c d Daniels, Les (2004). Batman – The Complete History: The Life and Times of the Dark Knight. Chronicle Books. ISBN 978-0-8118-4232-7.
  35. ^ "Don Markstein's Toonopedia: The Red Tornado". toonopedia.com. Archived from the original on May 28, 2024. Retrieved February 23, 2020.
  36. ^ Benton, Mike (1992). Superhero Comics of the Golden Age: The Illustrated History. Dallas: Taylor Publishing Company. pp. 123–124. ISBN 0-87833-808-X. Retrieved January 15, 2020.
  37. ^ Das, Manjima (February 17, 2020). "Batman And Superman: The Two Superheroes Are Going To Fight The First DC Villain". Trending News Buzz. Archived from the original on February 23, 2020. Retrieved February 23, 2020.
  38. ^ Wallace, Daniel; Dolan, Hannah (2010). "1930s". DC Comics Year By Year A Visual Chronicle. London, United Kingdom: Dorling Kindersley. p. 25. ISBN 978-0-7566-6742-9. Superman's runaway popularity as part of Action Comics earned him his own comic. This was a real breakthrough for the time, as characters introduced in comic books had never before been so successful as to warrant their own titles.
  39. ^ White, Chris (November 23, 2019). "DC: The 10 Rarest Batman Comics (& What They're Worth)". CBR. Archived from the original on February 23, 2020. Retrieved February 23, 2020.
  40. ^ Irving, Christopher (2007). The Blue Beetle Companion: His Many Lives from 1939 to Today. TwoMorrows Publishing. ISBN 9781893905702. Retrieved July 17, 2019.
  41. ^ Hall, Richard A. (2019). The American Superhero: Encyclopedia of Caped Crusaders in History. ABC-CLIO. ISBN 9781440861246. Retrieved July 17, 2019.
  42. ^ McMillan, Graeme (February 18, 2016). "A Guide to the Fictional Cities of the DC Universe". The Hollywood Reporter. Archived from the original on September 24, 2019. Retrieved February 23, 2020.
  43. ^ Webber, Tim (September 19, 2017). "The Metropo-list: 15 DARK Secrets You Never Knew About Superman's City". CBR. Archived from the original on February 23, 2020. Retrieved February 23, 2020.
  44. ^ "15 Best Comic Book Origin Stories Of All Time". ScreenRant. March 15, 2017. Archived from the original on July 29, 2020. Retrieved March 27, 2020.
  45. ^ Siegel, Jerry; Ellsworth, Whitney (2017). Superman: the Golden age dailies 1942–1944. Idea & Design Works, LLC. ISBN 978-1-63140-383-5.
  46. ^ Kooiman, Mike; Amash, Jim (2012). Quality Companion, The. Raleigh, NC: TwoMorrows Publishing. p. 8. ISBN 978-1-60549-037-3.
  47. ^ Smith, Zack (July 28, 2017). "An Oral History of DC's CAPTAIN MARVEL/SHAZAM: The Fawcett Years, Part 1". Newsarama. Archived from the original on June 1, 2019. Retrieved March 28, 2020.
  48. ^ Seifert, Mark (September 11, 2022) [May 20, 2020]. "All-American Part 1: The Organized Crime Origins of DC Comics". bleedingcool.com. Retrieved July 1, 2024.
  49. ^ Klein, Todd (July 9, 2013). "The DC Comics Offices 1930s-1950s Part 2". Todd's Blog. Retrieved July 1, 2024.
  50. ^ "Young April 12, 1948 Findings of Facts". Archived from the original on August 20, 2016. Retrieved February 19, 2016 – via Scribd.
  51. ^ Schelly, Bill; Schelly, William (2008). Man of Rock: A Biography of Joe Kubert. Fantagraphics Books. ISBN 978-1560979289.
  52. ^ Jones 2004, p. 223.
  53. ^ "'Superman Faces New Hurdles: Publishers of Comic Books Showing Decline". The New York Times. September 23, 1962. Archived from the original on July 23, 2018. Retrieved July 23, 2018. It was just a year ago that some rather surprising news was announced to the world about a venerable American institution. The announcement said that Superman had gone public.
  54. ^ Maggie Thompson, Michael Dean, Brent Frankenhoff, Joyce Greenholdt, John Jackson Miller (editors), Comics Buyer's Guide 1996 Annual, Krause Publications, 1995, p. 81: "Beginning as National Allied Publications in 1935 [sic] and becoming National Allied Newspaper Syndicate the next year, it changed to National Comic [sic] Publications in 1946 and National Periodical Publications in 1961"
  55. ^ "DC Comics, Inc". Bloomberg Businessweek. Archived from the original on May 16, 2010. Retrieved December 18, 2010.
  56. ^ Fleming, Mike Jr. (March 17, 2023). "'Shazam!' Helmer David F. Sandberg On How 'Raiders Of The Lost Ark' Set A Career Course Mixing Scares & Thrills: The Film That Lit My Fuse". Deadline. Archived from the original on April 1, 2023. Retrieved March 19, 2023.
  57. ^ Origins of Marvel Comics (Simon and Schuster/Fireside Books, 1974), p. 16
  58. ^ Coville, Jamie. "Integrative Arts 10: The Silver Age". psu.edu. Archived from the original on June 24, 2008. Retrieved June 11, 2008.
  59. ^ Tucker 2017, p. xiii.
  60. ^ Torcivia, Joe (August 21, 2019). "Joe Torcivia's The Issue At Hand Blog: Adventures in Comic-Boxing: Take THAT, Dell!". Joe Torcivia's The Issue At Hand Blog. Archived from the original on June 1, 2024. Retrieved June 1, 2024.
  61. ^ Tucker 2017, pp. 11–13.
  62. ^ Tucker 2017, p. 28.
  63. ^ Eury, Michael (July 2013). "The Doom Patrol Interviews: Editor's Note". Back Issue! (65). Raleigh, North Carolina: TwoMorrows Publishing: 37.
  64. ^ Epstein, Daniel Robert (November 11, 2005). "Talking to Arnold Drake". Newsarama. Archived from the original on October 11, 2007. Retrieved May 15, 2009.
  65. ^ Irving, Christopher (July 20, 2012). "Jim Shooter's Secret Origin, in his Own Words – Part One". nycgraphicnovelists.com. Archived from the original on August 20, 2018.
  66. ^ "Comic book company sets up TV arm" (PDF). Broadcasting Magazine. January 31, 1966. p. 60. Archived (PDF) from the original on May 31, 2023. Retrieved May 24, 2023.
  67. ^ Evanier, Mark (December 1, 2004). "Irwin Donenfeld, R.I.P." Archived from the original on May 18, 2008. Retrieved June 11, 2008.
  68. ^ Tucker 2017, p. 34.
  69. ^ "DC Comics". Don Markstein's Toonopedia. November 17, 2011. Retrieved August 10, 2012.
  70. ^ "McKay, Sir George Mills, (20 July 1869–19 July 1937), Co. Founder and since Hon. Treasurer of English-speaking Union", Who Was Who, Oxford University Press, December 1, 2007, doi:10.1093/ww/9780199540884.013.u213884, retrieved June 7, 2023
  71. ^ Evanier, Mark (2008). Kirby: King of Comics. Introduction by Neil Gaiman. New York City: Abrams. p. 197. ISBN 978-0-8109-9447-8.
  72. ^ Tucker 2017, p. 110.
  73. ^ "DC Comics, Inc.: Private Company Information". Bloomberg. Archived from the original on August 8, 2016. Retrieved August 6, 2016.
  74. ^ Eury, Michael (2003). Captain Action: The Original Super-Hero Action Figure. TwoMorrows Publishing. p. 46. ISBN 1-89390517-9. Retrieved January 20, 2019.
  75. ^ Kahn, Jenette (September 1978). "DC Publishorial: Onward And Upward". DC Comics. Archived from the original on March 29, 2014 – via dialbforblog.com.
  76. ^ "The DC Implosion", The Comics Journal No. 41 (August 1978), pp. 5–7.
  77. ^ "Post-Implosion Fill-In Fallout", The Comics Journal No. 43 (December 1978), p. 13.
  78. ^ Steranko, Jim (February 1975). "Mediascene". No. 11. p. ?. Atlas/Seaboard publisher Martin Goodman's David and Goliath strategy is insidiously simple and outrageous—possibly even considered dirty tactics by the competition—[and consists of] such [things] as higher page rates, artwork returned to the artist, rights to the creation of an original character, and a certain amount of professional courtesy.
  79. ^ Tucker 2017, pp. 112–113.
  80. ^ "GHM Columns : GHM Staff: Steve Higgins A+ Graphic Novels &#93". Newcomicreviews.com. Archived from the original on February 4, 2012. Retrieved March 5, 2019.
  81. ^ MacDonald, Heidi D. "DC's Titanic Success", The Comics Journal No. 76 (October 1982), pp. 46–51.
  82. ^ "Why TEEN TITANS Is DC Comics' Most Important (But Undervalued) Franchise – Nerdist". August 30, 2016. Archived from the original on November 18, 2017. Retrieved July 11, 2017.
  83. ^ "Vertigo (Publisher) – Comic Vine". Comic Vine. Archived from the original on July 15, 2017. Retrieved July 11, 2017.
  84. ^ "Batman's Dark Side". National Review. March 26, 2016. Archived from the original on April 7, 2017. Retrieved July 11, 2017.
  85. ^ "How the Year 1986 Changed Comic Books Forever". Nerdist. Archived from the original on June 5, 2021. Retrieved June 5, 2021.
  86. ^ Arrant, Chris (April 29, 2009). "Completing the Red Circle: Talking to JMS". Newsarama. Archived from the original on December 2, 2013. Retrieved August 15, 2011.
  87. ^ Markstein, Don. "Archie (MLJ) Comics". Don Markstein's Toonopedia. Archived from the original on October 16, 2009. Retrieved April 18, 2013.
  88. ^ a b Renaud, Jeffrey (May 26, 2009). "JMS Circles the DC Universe in Red". CBR.com. Archived from the original on October 8, 2013. Retrieved December 13, 2021.
  89. ^ Brady, Matt (August 21, 2006). "Adam Hughes on His New Exclusive & All Star Wonder Woman". Newsarama. Archived from the original on August 30, 2006.
  90. ^ Renaud, Jeffrey (October 30, 2008). "JMS Gets Brave & Bold with Archie Gang". CBR.com. Archived from the original on July 6, 2013. Retrieved December 13, 2021.
  91. ^ Brady, Matt (December 24, 2008). "20 Answers and 1 Question With Dan DiDio: Holiday Surprise". Newsarama. Archived from the original on August 29, 2012. Retrieved May 23, 2013.
  92. ^ Rogers, Vaneta (March 3, 2010). "Brian Azzarello Gets Ready to Break DC's First Wave". Newsarama. Archived from the original on April 7, 2010. Retrieved September 26, 2010.
  93. ^ Johnston, Rich (February 23, 2011). "First Wave Crashes – DC To Cancel Line". Bleeding Cool. Archived from the original on October 29, 2013. Retrieved May 22, 2013.
  94. ^ Bondurant, Tom (May 19, 2011). "Grumpy Old Fan Growing the garden: DC's May solicits". Comic Book Resources. Archived from the original on October 29, 2013. Retrieved December 13, 2021.
  95. ^ Hyde, David (May 31, 2011). "DC Comics Announces Historic Renumber of All Superhero Titles and Landmark Day-and-Date Digital Distribution". DC Entertainment. Archived from the original on June 28, 2012. Retrieved May 31, 2011.
  96. ^ Truitt, Brian (May 31, 2011). "DC Comics unleashes a new universe of superhero titles". USA Today. Archived from the original on March 2, 2012. Retrieved June 5, 2011.
  97. ^ Richards, Ron (June 6, 2011). "The Definitive Guide to the DC Comics Reboot". iFanboy.com. Archived from the original on June 19, 2011. Retrieved June 22, 2011.
  98. ^ "DC Entertainment Brings Digital Comics to the Net Level With New DC2 and DC2 Multiverse Innovations" (Press release). DC Entertainment. June 4, 2013. Archived from the original on June 8, 2013. Retrieved June 4, 2013.
  99. ^ "DC's Band-Aid Event? It's Not Blood Moon. It's Called Convergence". Bleeding Cool. October 28, 2014. Archived from the original on October 28, 2014. Retrieved November 12, 2014.
  100. ^ "New villain, old tales part of DC's 'Convergence'". USA Today. November 3, 2014. Archived from the original on July 22, 2017. Retrieved August 22, 2017.
  101. ^ Beedle, Tim (November 6, 2014). "FIRST LOOK: The Complete Convergence". DC Entertainment. Archived from the original on November 9, 2014. Retrieved November 12, 2014.
  102. ^ "DC's CONVERGENCE Week One: Donna Troy, Oracle, Married Superman, Montoya Question, More". Newsarama.com. November 11, 2014. Archived from the original on November 12, 2014. Retrieved November 12, 2014.
  103. ^ "DC Entertainment reveals first details of "rebirth" to retailers at Comics Pro 2016" (Press release). DC Entertainment. February 18, 2016. Archived from the original on April 12, 2018. Retrieved April 11, 2018.
  104. ^ McMillan, Graeme (September 2016). "DC Comics' 'Rebirth' brings new life – and huge sales – to old superheroes". Los Angeles Times. Archived from the original on April 12, 2018. Retrieved April 11, 2018.
  105. ^ "How DC Comics Scored Its Biggest Win in Years With 'Rebirth'". December 16, 2016. Archived from the original on April 12, 2018. Retrieved April 11, 2018.
  106. ^ "DC Comics' Rebirth worked because it's actually good". Polygon. January 10, 2017. Archived from the original on April 12, 2018. Retrieved April 11, 2018.
  107. ^ Faughnder, Ryan (February 21, 2020). "DC Entertainment shakeup continues with the exit of co-publisher Dan DiDio". Los Angeles Times. Archived from the original on February 22, 2020. Retrieved February 21, 2020.
  108. ^ Johnston, Rich (February 21, 2020). "Dan DiDio No Longer Publisher of DC Comics, As Of Today". Bleeding Cool. Archived from the original on February 22, 2020. Retrieved February 21, 2020.
  109. ^ Johnston, Rich (February 21, 2020). "So Why Did Dan DiDio Leave DC Comics Anyway?". Bleeding Cool. Archived from the original on February 23, 2020. Retrieved February 21, 2020.
  110. ^ "DC FanDome: Warner Bros. Announces 'Immersive Virtual Fan Experience' as Comic-Con-Style Event". IGN. August 19, 2020. Archived from the original on August 22, 2020. Retrieved June 16, 2020.
  111. ^ "DC FanDome splits into 2 days: Get the details". ew.com. August 19, 2020. Archived from the original on September 17, 2020. Retrieved August 19, 2020.
  112. ^ Agard, Chancellor (December 11, 2020). "DC FanDome to return with Wonder Woman 1984 virtual premiere, sneak peek". Entertainment Weekly. Archived from the original on December 15, 2020. Retrieved December 15, 2020.
  113. ^ "DC FanDome is Returning in 2021!". DC. April 28, 2021. Archived from the original on April 28, 2021. Retrieved April 28, 2021.
  114. ^ "DC Comics, DC Universe Hit By Major Layoffs". Hollywood Reporter. August 10, 2020. Archived from the original on August 28, 2020. Retrieved August 25, 2020.
  115. ^ "'Infinite Frontier' Launches Next Era of the DC Universe". Hollywood Reporter. March 26, 2021. Archived from the original on December 18, 2020. Retrieved December 18, 2020.
  116. ^ ""Dawn of DC" Starts in January 2023". DC. November 18, 2022. Archived from the original on November 18, 2022. Retrieved November 18, 2022.
  117. ^ Kit, Borys (May 3, 2023). "Jim Lee Re-Ups at DC, Promoted to President". The Hollywood Reporter. Archived from the original on May 19, 2023. Retrieved May 24, 2023.
  118. ^ "DC Comics logo and symbol, meaning, history, PNG, brand". 1000logos.net. Archived from the original on May 17, 2021. Retrieved June 5, 2021.
  119. ^ Rozakis, Bob. "Conspiracy? Icons? And More?". Silver Bullet Comic Books. Archived from the original on August 20, 2006.
  120. ^ "DC Comics Brand: A Graphic History" (PDF). Brainchild Studios. Archived from the original (PDF) on September 10, 2008. Retrieved July 29, 2008.
  121. ^ Brady, Matt (May 11, 2005). "Richard Bruning on designing a new DC logo". Newsarama. Archived from the original on December 6, 2008. Retrieved July 29, 2008.
  122. ^ Kit, Borys (January 19, 2012). "DC Entertainment Unveils New Logo". The Hollywood Reporter. Archived from the original on July 27, 2024. Retrieved July 27, 2024.
  123. ^ Opam, Kwame (May 17, 2016). "DC Comics went old-school for its new logo". The Verge. Archived from the original on February 27, 2024. Retrieved July 27, 2024.
  124. ^ Kit, Borys (July 26, 2024). "DC Brings Back Classic Milton Glaser-Designed Logo". The Hollywood Reporter. Archived from the original on September 10, 2024. Retrieved July 27, 2024.
  125. ^ Perry, Spencer (October 19, 2024). "DC Is Bringing Back Vertigo (And Its First Series Is Already Out)". ComicBook.com. Retrieved October 19, 2024.
  126. ^ "DC launches new publishing imprint DC Black Label" (Press release). DC Entertainment. March 8, 2018. Archived from the original on August 26, 2018. Retrieved August 17, 2018.
  127. ^ Sagers, Aaron (October 3, 2021). "DC Horror Brings New Blood to the Genre". Den of Geek. Retrieved August 4, 2024.
  128. ^ Club, Comic Book (November 2, 2023). "DC Compact Comics Graphic Novel Line Announced". Comic Book Club. Archived from the original on November 2, 2023. Retrieved November 2, 2023.

Sources

edit
edit
Retrieved from "https://en.wikipedia.org/w/index.php?title=DC_Comics&oldid=1260249001"