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Are you sure your superhero isn't anachronistic ?
Are you sure your context/background are answering the question ?
So, are you sure you're propagandasing ?
Are you happy with your production ?

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Put your elements together to create your poster:
- Your background
- Your superhero at work
- Your message

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Examples of photos found with Google which can be used and modified 

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Examples of photos found with Google which can be used and modified 

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2e guerre mondiale américains - Google Search

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Attention ! Toutes les images trouvées sur Internet ne peuvent pas être utilisées librement ! Elles appartiennent à un propriétaire, qui peut autoriser leur utilisation...ou pas

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Create the background of your poster
We suggest you some ideas, but feel free to create your own background !

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Your superhero can for example :
- promote the fight against the Nazis, Italians or Japanese
- support the army at the front
- defend civilians,
- promote war effort with victory gardens, war bonds, economy drive
-

The implicit roles are to boost the morale of the American public (Comics target a young public) through his courageous behaviour and stimulate and/or trigger patriotism showing superheroes fight the same fight as the US government (So they share common values ; they are allies). It is also to foresee victory…

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Présentation d'un livre récent, mais inspiré de principes du début du 20e siècle

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Principes élémentaires de propagande de guerre - Wikipédia

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Principes élémentaires de propagande de guerre (utilisables en cas de guerre froide, chaude ou tiède...) est un livre, paru en 2001, de l'historienne Anne Morelli, professeur à l' université libre de Bruxelles et spécialiste de la critique historique appliquée aux médias modernes.

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Choose a cause you want to defend or support

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Choose the super-hero you're going to use for your task.
Of course, this super-hero must have been created before WWII or at this time. That's why you need these documents below.

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In English

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Marvel Comics is the brand name and primary imprint of Marvel Worldwide Inc., formerly Marvel Publishing, Inc. and Marvel Comics Group, a publisher of American comic books and related media. In 2009, The Walt Disney Company acquired Marvel Entertainment, Marvel Worldwide's parent company.

Marvel was started in 1939 by Martin Goodman under a number of corporations and imprints but now known as Timely Comics, and by 1951 had generally become known as Atlas Comics. The Marvel era began in 1961, the year that the company launched The Fantastic Four and other superhero titles created by Stan Lee, Jack Kirby, Steve Ditko and many others. The Marvel brand, which had been used over the years, was solidified as the company's primary brand.

Marvel counts among its characters such well-known superheroes as Spider-Man, Iron Man, Captain America, the Hulk, Thor, Wolverine, Ant-Man, the Wasp, Black Widow, Hawkeye, Captain Marvel, Black Panther, Doctor Strange, the Scarlet Witch, Quicksilver, She-Hulk, the Vision, the Falcon, the Winter Soldier, Ghost Rider, Blade, Daredevil, Ms. Marvel, Miles Morales, the Punisher and Deadpool. Superhero teams exist such as the Avengers, the X-Men, the Fantastic Four and the Guardians of the Galaxy.

The Marvel universe also features well-known supervillains including Doctor Doom, Magneto, Thanos, Loki, Green Goblin, Kingpin, Red Skull, Ultron, the Mandarin, MODOK, Doctor Octopus, Kang, Dormammu, Venom and Galactus. Most of Marvel's fictional characters operate in a single reality known as the Marvel Universe, with most locations mirroring real-life places; many major characters are based in New York City. Additionally, Marvel has published several licensed properties from other companies. This includes comics twice from 1977 to 1986 and again since 2015.

Timely Publications

Pulp-magazine publisher Martin Goodman created the company later known as Marvel Comics under the name Timely Publications in 1939. Goodman, who had started with a Western pulp in 1933, was expanding into the emerging-and by then already highly popular-new medium of comic books. Launching his new line from his existing company's offices at 330 West 42nd Street, New York City, he officially held the titles of editor, managing editor, and business manager, with Abraham Goodman (Martin's brother) officially listed as publisher.

Timely's first publication, Marvel Comics #1 ( cover dated Oct. 1939), included the first appearance of Carl Burgos' android superhero the Human Torch, and the first appearances of Bill Everett's anti-hero Namor the Sub-Mariner, among other features. The issue was a great success; it and a second printing the following month sold a combined nearly 900,000 copies. While its contents came from an outside packager, Funnies, Inc., Timely had its own staff in place by the following year. The company's first true editor, writer-artist Joe Simon, teamed with artist Jack Kirby to create one of the first patriotically themed superheroes, Captain America, in Captain America Comics #1 (March 1941). It, too, proved a hit, with sales of nearly one million. Goodman formed Timely Comics, Inc., beginning with comics cover-dated April 1941 or Spring 1941.

While no other Timely character would achieve the success of these three characters, some notable heroes-many of which continue to appear in modern-day retcon appearances and flashbacks-include the Whizzer, Miss America, the Destroyer, the original Vision, and the Angel. Timely also published one of humor cartoonist Basil Wolverton's best-known features, " Powerhouse Pepper", as well as a line of children's funny-animal comics featuring characters like Super Rabbit and the duo Ziggy Pig and Silly Seal.

Goodman hired his wife's 16-year-old cousin, Stanley Lieber, as a general office assistant in 1939. When editor Simon left the company in late 1941, Goodman made Lieber-by then writing pseudonymously as " Stan Lee"-interim editor of the comics line, a position Lee kept for decades except for three years during his military service in World War II. Lee wrote extensively for Timely, contributing to a number of different titles.

Goodman's business strategy involved having his various magazines and comic books published by a number of corporations all operating out of the same office and with the same staff. One of these shell companies through which Timely Comics was published was named Marvel Comics by at least Marvel Mystery Comics #55 (May 1944). As well, some comics' covers, such as All Surprise Comics #12 (Winter 1946-47), were labeled "A Marvel Magazine" many years before Goodman would formally adopt the name in 1961.

Atlas Comics

The post-war American comic market saw superheroes falling out of fashion. Goodman's comic book line dropped them for the most part and expanded into a wider variety of genres than even Timely had published, featuring horror, Westerns, humor, funny animal, men's adventure-drama, giant monster, crime, and war comics, and later adding jungle books, romance titles, espionage, and even medieval adventure, Bible stories and sports.

Goodman began using the globe logo of the Atlas News Company, the newsstand-distribution company he owned, on comics cover-dated November 1951 even though another company, Kable News, continued to distribute his comics through the August 1952 issues. This globe branding united a line put out by the same publisher, staff and freelancers through 59 shell companies, from Animirth Comics to Zenith Publications.

Atlas, rather than innovate, took a proven route of following popular trends in television and movies- Westerns and war dramas prevailing for a time, drive-in movie monsters another time-and even other comic books, particularly the EC horror line. Atlas also published a plethora of children's and teen humor titles, including Dan DeCarlo's Homer the Happy Ghost (similar to Casper the Friendly Ghost) and Homer Hooper (à la Archie Andrews). Atlas unsuccessfully attempted to revive superheroes from late 1953 to mid-1954, with the Human Torch (art by Syd Shores and Dick Ayers, variously), the Sub-Mariner (drawn and most stories written by Bill Everett), and Captain America (writer Stan Lee, artist John Romita Sr.). Atlas did not achieve any breakout hits and, according to Stan Lee, Atlas survived chiefly because it produced work quickly, cheaply, and at a passable quality.

Marvel Comics

The first modern comic books under the Marvel Comics brand were the science-fiction anthology Journey into Mystery #69 and the teen-humor title Patsy Walker #95 (both cover dated June 1961), which each displayed an "MC" box on its cover. Then, in the wake of DC Comics' success in reviving superheroes in the late 1950s and early 1960s, particularly with the Flash, Green Lantern, Batman, Superman, Wonder Woman, Green Arrow and other members of the team the Justice League of America, Marvel followed suit.

In 1961, writer-editor Stan Lee revolutionized superhero comics by introducing superheroes designed to appeal to older readers than the predominantly child audiences of the medium, thus ushering what Marvel later called the Marvel Age of Comics. Modern Marvel's first superhero team, the titular stars of The Fantastic Four #1 (Nov. 1961), broke convention with other comic book archetypes of the time by squabbling, holding grudges both deep and petty, and eschewing anonymity or secret identities in favor of celebrity status. Subsequently, Marvel comics developed a reputation for focusing on characterization and adult issues to a greater extent than most superhero comics before them, a quality which the new generation of older readers appreciated. This applied to The Amazing Spider-Man title in particular, which turned out to be Marvel's most successful book. Its young hero suffered from self-doubt and mundane problems like any other teenager, something with which many readers could identify.

Stan Lee and freelance artist and eventual co-plotter Jack Kirby's Fantastic Four originated in a Cold War culture that led their creators to revise the superhero conventions of previous eras to better reflect the psychological spirit of their age. Eschewing such comic book tropes as secret identities and even costumes at first, having a monster as one of the heroes, and having its characters bicker and complain in what was later called a "superheroes in the real world" approach, the series represented a change that proved to be a great success.

Marvel often presented flawed superheroes, freaks, and misfits-unlike the perfect, handsome, athletic heroes found in previous traditional comic books. Some Marvel heroes looked like villains and monsters such as the Hulk and the Thing. This naturalistic approach even extended into topical politics. Comics historian Mike Benton also noted:

In the world of [rival DC Comics'] Superman comic books, communism did not exist. Superman rarely crossed national borders or involved himself in political disputes. From 1962 to 1965, there were more communists [in Marvel Comics] than on the subscription list of . Communist agents attack Ant-Man in his laboratory, red henchmen jump the Fantastic Four on the moon, and Viet Cong guerrillas take potshots at Iron Man.

All these elements struck a chord with the older readers, including college-aged adults. In 1965, Spider-Man and the Hulk were both featured in magazine's list of 28 college campus heroes, alongside John F. Kennedy and Bob Dylan. In 2009, writer Geoff Boucher reflected that,

Superman and DC Comics instantly seemed like boring old Pat Boone; Marvel felt like The Beatles and the British Invasion. It was Kirby's artwork with its tension and psychedelia that made it perfect for the times-or was it Lee's bravado and melodrama, which was somehow insecure and brash at the same time?

In addition to Spider-Man and the Fantastic Four, Marvel began publishing further superhero titles featuring such heroes and antiheroes as the Hulk, Thor, Ant-Man, Iron Man, the X-Men, Daredevil, the Inhumans, Black Panther, Doctor Strange, Captain Marvel and the Silver Surfer, and such memorable antagonists as Doctor Doom, Magneto, Galactus, Loki, the Green Goblin, and Doctor Octopus, all existing in a shared reality known as the Marvel Universe, with locations that mirror real-life cities such as New York, Los Angeles and Chicago.

Marvel even lampooned itself and other comics companies in a parody comic, Not Brand Echh (a play on Marvel's dubbing of other companies as "Brand Echh", à la the then-common phrase "Brand X").

Cadence Industries ownership

In 1968, while selling 50 million comic books a year, company founder Goodman revised the constraining distribution arrangement with Independent News he had reached under duress during the Atlas years, allowing him now to release as many titles as demand warranted. Late that year, he sold Marvel Comics and its parent company, Magazine Management, to the Perfect Film and Chemical Corporation, though he remained as publisher. In 1969, Goodman finally ended his distribution deal with Independent by signing with Curtis Circulation Company.

In 1971, the United States Department of Health, Education, and Welfare approached Marvel Comics editor-in-chief Stan Lee to do a comic book story about drug abuse. Lee agreed and wrote a three-part Spider-Man story portraying drug use as dangerous and unglamorous. However, the industry's self-censorship board, the Comics Code Authority, refused to approve the story because of the presence of narcotics, deeming the context of the story irrelevant. Lee, with Goodman's approval, published the story regardless in The Amazing Spider-Man #96-98 (May-July 1971), without the Comics Code seal. The market reacted well to the storyline, and the CCA subsequently revised the Code the same year.

Goodman retired as publisher in 1972 and installed his son, Chip, as publisher. Shortly thereafter, Lee succeeded him as publisher and also became Marvel's president for a brief time. During his time as president, he appointed his associate editor, prolific writer Roy Thomas, as editor-in-chief. Thomas added "Stan Lee Presents" to the opening page of each comic book.

A series of new editors-in-chief oversaw the company during another slow time for the industry. Once again, Marvel attempted to diversify, and with the updating of the Comics Code published titles themed to horror (The Tomb of Dracula), martial arts (Shang-Chi: Master of Kung Fu), sword-and-sorcery (Conan the Barbarian in 1970, ), satire (Howard the Duck) and science fiction (2001: A Space Odyssey, " Killraven" in Amazing Adventures, Battlestar Galactica, , and, late in the decade, the long-running series). Some of these were published in larger-format black and white magazines, under its Curtis Magazines imprint.

Marvel was able to capitalize on its successful superhero comics of the previous decade by acquiring a new newsstand distributor and greatly expanding its comics line. Marvel pulled ahead of rival DC Comics in 1972, during a time when the price and format of the standard newsstand comic were in flux. Goodman increased the price and size of Marvel's November 1971 cover-dated comics from 15 cents for 36 pages total to 25 cents for 52 pages. DC followed suit, but Marvel the following month dropped its comics to 20 cents for 36 pages, offering a lower-priced product with a higher distributor discount.

In 1973, Perfect Film and Chemical renamed itself as Cadence Industries and renamed Magazine Management as Marvel Comics Group. Goodman, now disconnected from Marvel, set up a new company called Seaboard Periodicals in 1974, reviving Marvel's old Atlas name for a new Atlas Comics line, but this lasted only a year and a half. In the mid-1970s a decline of the newsstand distribution network affected Marvel. Cult hits such as Howard the Duck fell victim to the distribution problems, with some titles reporting low sales when in fact the first specialty comic book stores resold them at a later date. But by the end of the decade, Marvel's fortunes were reviving, thanks to the rise of direct market distribution-selling through those same comics-specialty stores instead of newsstands.

Marvel ventured into audio in 1975 with a radio series and a record, both had Stan Lee as narrator. The radio series was Fantastic Four. The record was Spider-Man: Rock Reflections of a Superhero concept album for music fans.

Marvel held its own comic book convention, Marvelcon '75, in spring 1975, and promised a Marvelcon '76. At the 1975 event, Stan Lee used a Fantastic Four panel discussion to announce that Jack Kirby, the artist co-creator of most of Marvel's signature characters, was returning to Marvel after having left in 1970 to work for rival DC Comics. In October 1976, Marvel, which already licensed reprints in different countries, including the UK, created a superhero specifically for the British market. Captain Britain debuted exclusively in the UK, and later appeared in American comics. During this time, Marvel and the Iowa-based Register and Tribune Syndicate launched a number of syndicated comic strips - The Amazing Spider-Man, Howard the Duck, Conan the Barbarian, and The Incredible Hulk. None of the strips lasted past 1982, except for The Amazing Spider-Man, which is still being published.

In 1978, Jim Shooter became Marvel's editor-in-chief. Although a controversial personality, Shooter cured many of the procedural ills at Marvel, including repeatedly missed deadlines. During Shooter's nine-year tenure as editor-in-chief, Chris Claremont and John Byrne's run on the Uncanny X-Men and Frank Miller's run on became critical and commercial successes. Shooter brought Marvel into the rapidly evolving direct market, institutionalized creator royalties, starting with the Epic Comics imprint for creator-owned material in 1982; introduced company-wide crossover story arcs with Contest of Champions and Secret Wars; and in 1986 launched the ultimately unsuccessful New Universe line to commemorate the 25th anniversary of the Marvel Comics imprint. Star Comics, a children-oriented line differing from the regular Marvel titles, was briefly successful during this period.

Marvel Entertainment Group ownership

In 1986, Marvel's parent, Marvel Entertainment Group, was sold to New World Entertainment, which within three years sold it to MacAndrews and Forbes, owned by Revlon executive Ronald Perelman in 1989. In 1991 Perelman took MEG public. Following the rapid rise of this stock, Perelman issued a series of junk bonds that he used to acquire other entertainment companies, secured by MEG stock.

Marvel earned a great deal of money with their 1980s children's comics imprint Star Comics and they earned a great deal more money and worldwide success during the comic book boom of the early 1990s, launching the successful 2099 line of comics set in the future (Spider-Man 2099, etc.) and the creatively daring though commercially unsuccessful Razorline imprint of superhero comics created by novelist and filmmaker Clive Barker. In 1990, Marvel began selling Marvel Universe Cards with trading card maker SkyBox International. These were collectible trading cards that featured the characters and events of the Marvel Universe. The 1990s saw the rise of variant covers, cover enhancements, swimsuit issues, and company-wide crossovers that affected the overall continuity of the Marvel Universe.

Marvel suffered a blow in early 1992, when seven of its most prized artists - Todd McFarlane (known for his work on ), Jim Lee (), Rob Liefeld (), Marc Silvestri (), Erik Larsen (The Amazing Spider-Man), Jim Valentino (Guardians of the Galaxy), and Whilce Portacio (Uncanny X-Men) - left to form Image Comics in a deal brokered by Malibu Comics' owner Scott Mitchell Rosenberg. Three years later, on November 3, 1994, Rosenberg sold Malibu to Marvel. In purchasing Malibu, Marvel now owned leading standard for computer coloring of comic books that had been developed by Rosenberg, and also integrated the Ultraverse line of comics and the Genesis Universe into Marvel's multiverse.

In late 1994, Marvel acquired the comic book distributor Heroes World Distribution to use as its own exclusive distributor. As the industry's other major publishers made exclusive distribution deals with other companies, the ripple effect resulted in the survival of only one other major distributor in North America, Diamond Comic Distributors Inc. Then, by the middle of the decade, the industry had slumped, and in December 1996 MEG filed for Chapter 11 bankruptcy protection. In early 1997, when Marvel's Heroes World endeavor failed, Diamond also forged an exclusive deal with Marvel-giving the company its own section of its comics catalog Previews.

In 1996, Marvel had some of its titles participate in " Heroes Reborn", a crossover that allowed Marvel to relaunch some of its flagship characters such as the Avengers and the Fantastic Four, and outsource them to the studios of two of the former Marvel artists turned Image Comics founders, Jim Lee and Rob Liefeld. The relaunched titles, which saw the characters transported to a parallel universe with a history distinct from the mainstream Marvel Universe, were a solid success amidst a generally struggling industry, but Marvel discontinued the experiment after a one-year run and returned the characters to the Marvel Universe proper.

Marvel Enterprises

In 1997, Toy Biz bought Marvel Entertainment Group to end the bankruptcy, forming a new corporation, Marvel Enterprises. With his business partner Avi Arad, publisher Bill Jemas, and editor-in-chief Bob Harras, Toy Biz co-owner Isaac Perlmutter helped stabilize the comics line.

In 1998, the company launched the imprint Marvel Knights, taking place just outside Marvel continuity with better production quality. The imprint was helmed by soon-to-become editor-in-chief Joe Quesada; it featured tough, gritty stories showcasing such characters as the Daredevil, the Inhumans, and Black Panther.

With the new millennium, Marvel Comics emerged from bankruptcy and again began diversifying its offerings. In 2001, Marvel withdrew from the Comics Code Authority and established its own Marvel Rating System for comics. The first title from this era to not have the code was #119 (October 2001). Marvel also created new imprints, such as MAX (an explicit-content line) and Marvel Adventures (developed for child audiences). The company also created an alternate universe imprint, Ultimate Marvel, that allowed the company to reboot its major titles by revising and updating its characters to introduce to a new generation.

Some of the company's properties were adapted into successful film franchises, such as the Men in Black movie series (which was based on a Malibu book), starting in 1997, the movie series, starting in 1998, the movie series, starting in 2000, and the highest grossing series, , beginning in 2002.

Marvel's Conan the Barbarian title was canceled in 1993 after 275 issues, while the Savage Sword of Conan magazine had lasted 235 issues. Marvel published additional titles including miniseries until 2000 for a total of 650 issues. Conan was picked up by Dark Horse Comics three years later.

In a cross-promotion, the November 1, 2006, episode of the CBS soap opera The Guiding Light, titled "She's a Marvel", featured the character Harley Davidson Cooper (played by Beth Ehlers) as a superheroine named the Guiding Light. The character's story continued in an eight-page backup feature, "A New Light", that appeared in several Marvel titles published November 1 and 8. Also that year, Marvel created a wiki on its Web site.

In late 2007 the company launched Marvel Digital Comics Unlimited, a digital archive of over 2,500 back issues available for viewing, for a monthly or annual subscription fee. At the December 2007 the New York Anime Fest, the company announcement that Del Rey Manga would published two original English language Marvel manga books featuring the X-Men and Wolverine to hit the stands in spring 2009.

In 2009 Marvel Comics closed its Open Submissions Policy, in which the company had accepted unsolicited samples from aspiring comic book artists, saying the time-consuming review process had produced no suitably professional work. The same year, the company commemorated its 70th anniversary, dating to its inception as Timely Comics, by issuing the one-shot Marvel Mystery Comics 70th Anniversary Special #1 and a variety of other special issues.

Disney conglomerate unit (2009-present)

On August 31, 2009, The Walt Disney Company announced it would acquire Marvel Comics' parent corporation, Marvel Entertainment, for a cash and stock deal worth approximately $4 billion, which if necessary would be adjusted at closing, giving Marvel shareholders $30 and 0.745 Disney shares for each share of Marvel they owned. As of 2008, Marvel and its major, longtime competitor DC Comics shared over 80% of the American comic-book market.

As of September 2010, Marvel switched its bookstore distribution company from Diamond Book Distributors to Hachette Distribution Services. Marvel moved its office to the Sports Illustrated Building in October 2010.

Marvel relaunched the CrossGen imprint, owned by Disney Publishing Worldwide, in March 2011. Marvel and Disney Publishing began jointly publishing Disney/Pixar Presents magazine that May.

Marvel discontinued its Marvel Adventures imprint in March 2012, and replaced them with a line of two titles connected to the Marvel Universe TV block. Also in March, Marvel announced its Marvel ReEvolution initiative that included Infinite Comics, a line of digital comics, Marvel AR, a software application that provides an augmented reality experience to readers and Marvel NOW!, a relaunch of most of the company's major titles with different creative teams. Marvel NOW! also saw the debut of new flagship titles including Uncanny Avengers and All-New X-Men.

In April 2013, Marvel and other Disney conglomerate components began announcing joint projects. With ABC, a Once Upon a Time graphic novel was announced for publication in September. With Disney, Marvel announced in October 2013 that in January 2014 it would release its first title under their joint "Disney Kingdoms" imprint "Seekers of the Weird", a five-issue miniseries. On January 3, 2014, fellow Disney subsidiary Lucasfilm announced that as of 2015, Star Wars comics would once again be published by Marvel.

Following the events of the company-wide crossover " Secret Wars" in 2015, a relaunched Marvel universe began in September 2015, called the All-New, All-Different Marvel.

Marvel Legacy was the company's Fall 2017 relaunch branding, which began that September. Books released as part of that initiative featured lenticular variant covers that required comic book stores to double their regular issue order to be able to order the variants. The owner of two Comix Experience stores complained about requiring retailers purchase an excess of copies featuring the regular cover that they would not be able to sell in order to acquire the more sought-after variant. Marvel responded to these complaints by rescinding these ordering requirements on newer series, but maintained it on more long-running titles like Invincible Iron Man. As a result, MyComicShop.com and at least 70 other comic book stores boycotted these variant covers. Despite the release of Guardians of the Galaxy Vol. 2, , Thor: Ragnarok and Spider-Man: Homecoming in theaters, none of those characters' titles featured in the top 10 sales and the Guardians of the Galaxy comic book series was cancelled. Conan Properties International announced on January 12, 2018 that Conan would return to Marvel in early 2019.

On March 1, 2019, Serial Box, a digital book platform, announced a partnership with Marvel, in which they would publish new and original stories tied to a number of Marvel's popular franchises.

In the wake of the COVID-19 pandemic, from March to May 2020, Marvel and its distributor Diamond Comic Distributors stopped producing and releasing new comic books.

On March 25, 2021, Marvel Comics announced that they planned to shift their direct market distribution for monthly comics and graphic novels from Diamond Comic Distributors to Penguin Random House. The change was scheduled to start on October 1, 2021, in a multi-year partnership. The arrangement would still allow stores the option to order comics from Diamond, but Diamond would be acting as a wholesaler rather than distributor.

Publishers

Editors-in-chief

Marvel's chief editor originally held the title of "editor". This head editor's title later became "editor-in-chief". Joe Simon was the company's first true chief-editor, with publisher Martin Goodman, who had served as titular editor only and outsourced editorial operations.

In 1994 Marvel briefly abolished the position of editor-in-chief, replacing Tom DeFalco with five group editors-in-chief. As Carl Potts described the 1990s editorial arrangement:

In the early '90s, Marvel had so many titles that there were three Executive Editors, each overseeing approximately 1/3 of the line. Bob Budiansky was the third Executive Editor [following the previously appointed Mark Gruenwald and Potts]. We all answered to Editor-in-Chief Tom DeFalco and Publisher Mike Hobson. All three Executive Editors decided not to add our names to the already crowded credits on the Marvel titles. Therefore it wasn't easy for readers to tell which titles were produced by which Executive Editor ... In late '94, Marvel reorganized into a number of different publishing divisions, each with its own Editor-in-Chief.

Marvel reinstated the overall editor-in-chief position in 1995 with Bob Harras.

Executive Editors

Originally called associate editor when Marvel's chief editor just carried the title of editor, the title of the next highest editorial position became executive editor under the chief editor title of editor-in-chief. The title of associate editor later was revived under the editor-in-chief as an editorial position in charge of few titles under the direction of an editor and without an assistant editor.

Located in New York City, Marvel has had successive headquarters:

Productions

Animated

In 2017, Marvel held a 38.30% share of the comics market, compared to its competitor DC Comics' 33.93%. By comparison, the companies respectively held 33.50% and 30.33% shares in 2013, and 40.81% and 29.94% shares in 2008.

Marvel characters in other media

Marvel characters and stories have been adapted to many other media. Some of these adaptations were produced by Marvel Comics and its sister company, Marvel Studios, while others were produced by companies licensing Marvel material.

In June 1993, Marvel issued its collectable caps for milk caps game under the Hero Caps brand. In 2014, the Marvel Disk Wars: The Avengers Japanese TV series was launched together with a collectible game called Bachicombat, a game similar to the milk caps game, by Bandai.

Collectible card games

The RPG industry brought the development of the collectible card game (CCG) in the early 1990s which there were soon Marvel characters were featured in CCG of their own starting in 1995 with Fleer's OverPower (1995-1999). Later collectible card game were:

Miniatures

Role-playing

TSR published the pen-and-paper role-playing game Marvel Super Heroes in 1984. TSR then released in 1998 the Marvel Super Heroes Adventure Game which used a different system, the card-based SAGA system, than their first game. In 2003 Marvel Publishing published its own role-playing game, the Marvel Universe Roleplaying Game, that used a diceless stone pool system. In August 2011 Margaret Weis Productions announced it was developing a tabletop role-playing game based on the Marvel universe, set for release in February 2012 using its house Cortex Plus RPG system.

Video games

Video games based on Marvel characters go back to 1984 and the Atari game, . Since then several dozen video games have been released and all have been produces by outside licensees. In 2014, Disney Infinity 2.0: Marvel Super Heroes was released that brought Marvel characters to the existing Disney sandbox video game.

As of the start of September 2015, films based on Marvel's properties represent the highest-grossing U.S. franchise, having grossed over $7.7 billion as part of a worldwide gross of over $18 billion. As of May 2019 the Marvel Cinematic Universe (MCU) has grossed over $22 billion.

Prose novels

Marvel first licensed two prose novels to Bantam Books, who printed The Avengers Battle the Earth Wrecker by Otto Binder (1967) and Captain America: The Great Gold Steal by Ted White (1968). Various publishers took up the licenses from 1978 to 2002. Also, with the various licensed films being released beginning in 1997, various publishers put out movie novelizations. In 2003, following publication of the prose young adult novel Mary Jane, starring Mary Jane Watson from the Spider-Man mythos, Marvel announced the formation of the publishing imprint Marvel Press. However, Marvel moved back to licensing with Pocket Books from 2005 to 2008. With few books issued under the imprint, Marvel and Disney Books Group relaunched Marvel Press in 2011 with the Marvel Origin Storybooks line.

Television programs

Many television series, both live-action and animated, have based their productions on Marvel Comics characters. These include series for popular characters such as Spider-Man, Iron Man, the Hulk, the Avengers, the X-Men, Fantastic Four, the Guardians of the Galaxy, Daredevil, Jessica Jones, Luke Cage, Iron Fist, the Punisher, the Defenders, S.H.I.E.L.D., Agent Carter, Deadpool, Legion, and others. Additionally, a handful of television movies, usually also pilots, based on Marvel Comics characters have been made.

Theme parks

Marvel has licensed its characters for theme parks and attractions, including Marvel Super Hero Island at Universal Orlando's Islands of Adventure in Orlando, Florida, which includes rides based on their iconic characters and costumed performers, as well as The Amazing Adventures of Spider-Man ride cloned from Islands of Adventure to Universal Studios Japan.

Years after Disney purchased Marvel in late 2009, Walt Disney Parks and Resorts plans on creating original Marvel attractions at their theme parks, with Hong Kong Disneyland becoming the first Disney theme park to feature a Marvel attraction. Due to the licensing agreement with Universal Studios, signed prior to Disney's purchase of Marvel, Walt Disney World and Tokyo Disney Resort are barred from having Marvel characters in their parks. However, this only includes characters that Universal is currently using, other characters in their "families" (X-Men, Avengers, Fantastic Four, etc.), and the villains associated with said characters. This clause has allowed Walt Disney World to have meet and greets, merchandise, attractions and more with other Marvel characters not associated with the characters at Islands of Adventures, such as Star-Lord and Gamora from Guardians of the Galaxy.

Disney Kingdoms

Marvel Worldwide with Disney announced in October 2013 that in January 2014 it would release its first comic book title under their joint Disney Kingdoms imprint Seekers of the Weird, a five-issue miniseries inspired by a never built Disneyland attraction Museum of the Weird. Marvel's Disney Kingdoms imprint has since released comic adaptations of Big Thunder Mountain Railroad, Walt Disney's Enchanted Tiki Room, The Haunted Mansion, two series on Figment based on Journey Into Imagination.

References

Further reading

External links

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Marvel Comics is the brand name and primary imprint of Marvel Worldwide Inc., formerly Marvel Publishing, Inc. and Marvel Comics Group, a publisher of American comic books and related media. In 2009, The Walt Disney Company acquired Marvel Entertainment, Marvel Worldwide's parent company.

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In English

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DC Comics, Inc. is an American comic book publisher and the flagship unit of DC Entertainment, a subsidiary of the Warner Bros. Global Brands and Experiences division of Warner Bros., which itself is a subsidiary of AT&T's WarnerMedia through its Studios & Networks division.

DC Comics is one of the largest and oldest American comic book companies. The majority of its publications take place within the fictional DC Universe and feature numerous culturally iconic heroic characters, such as Superman, Batman, Wonder Woman, Green Lantern, Flash, Aquaman, Martian Manhunter, Cyborg, Green Arrow, Starfire, Captain Marvel, Supergirl, Batwoman, Batgirl, Robin, Nightwing, Black Canary, Hawkman, Hawkgirl, Huntress, Static, Zatanna and Bumblebee.

It is widely known for some of the most famous and recognizable teams including the Justice League, the Justice Society of America, the Green Lantern Corps, the Young Justice, the Suicide Squad, the Birds of Prey, and the Teen Titans.

The universe also features a large number of well-known supervillains who oppose the superheroes such as Lex Luthor, Joker, Poison Ivy, Darkseid, Harley Quinn, General Zod, Catwoman, Brainiac, Scarecrow, Veronica Cale, Metallo, Black Manta, Black Mask, Doomsday, Ares, Bizarro, Bane, Cheetah, Mr. Freeze, Doctor Poison, Penguin, Circe, Thaal Sinestro, Riddler, Star Sapphire, Two-Face, Reverse-Flash, King Shark, Ra's al Ghul, Giganta, Gorilla Grodd, and Black Adam. The company has published non-DC Universe-related material, including , V for Vendetta, and many titles under their alternative imprint Vertigo.

Originally in Manhattan at 432 Fourth Avenue, the DC Comics 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 had its headquarters at 1700 Broadway, Midtown Manhattan, New York City, however DC Entertainment relocated its headquarters from New York to Burbank, California in April 2015.

Penguin Random House Publisher Services distributes DC Comics' books to the bookstore market, while Diamond Comic Distributors supplied the comics shop direct market until June 2020, where Lunar Distribution and UCS Comic Distributors, who already distributed to the direct market due to Diamond's distribution interruption as a result of the COVID-19 pandemic, replaced Diamond to distribute to that market. DC Comics and its longtime major competitor Marvel Comics (acquired in 2009 by The Walt Disney Company, WarnerMedia's main competitor) together shared approximately 70% of the American comic book market in 2017, though this number may give a distorted view since graphic novels are excluded. With the sales of all books included, DC is the second biggest publisher, after Viz Media, and Marvel is third.

Entrepreneur Major Malcolm Wheeler-Nicholson founded National Allied Publications in Autumn 1934 intended as an American comic book publishing company. The first publishing of the company debuted with the tabloid-sized New Fun: The Big Comic Magazine #1 (the first of a comic series later called More Fun Comics) with a cover date of February 1935. An anthology title essential for containing original stories not reprinted from newspaper strips unlike many comic book series before. While superhero comics are what DC Comics is known for throughout modern times, the genres in the anthology titles consisted of funnies, Western comics and adventure-related stories starting out. The character Doctor Occult, created by Jerry Siegel and Joe Shuster in December 1935 within the issue No. 6 of New Fun Comics, is considered as the earliest recurring superhero created by DC that is still used. The company created a second recurring title called New Comics No. 1 released in December 1935 which would be the start of the long-running Adventure Comics series featuring many anthology titles as well.

Wheeler-Nicholson's next and final title, Detective Comics, advertised with a cover illustration dated December 1936, eventually premiered three months late with a March 1937 cover date. The themed anthology that revolved originally on 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 contribution by Malcom-Wheeler-Nicholson, Jerry Siegel and Joe Shuster. 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 take Donenfeld on as a partner to publish Detective Comics No. 1. Detective Comics, Inc. (which would help inspire the abbreviation DC) was formed, with Wheeler-Nicholson and Jack S. Liebowitz, Donenfeld's accountant, listed as owners. Major Wheeler-Nicholson remained for a year, but cash-flow problems continued, and he was forced out. Shortly afterwards, Detective Comics, Inc. purchased the remains of National Allied, also known as Nicholson Publishing, at a bankruptcy auction.

Meanwhile, Max Gaines, formed the sister company All-American Publications around 1938. Detective Comics, Inc. soon launched a new anthology title, entitled Action Comics. Issue#1, cover dated in June 1938, first featured characters such as Superman by Siegel and Shuster, Zatara by Fred Guardineer and Tex Thompson by Ken Finch and Bernard Baily. It is considered to be the first comic book to feature the new character archetype-soon known as "superheroes" and was a sales hit bringing to life a new age of comic books with the credit going to the first appearance of Superman both being featured on the cover and within the issue. It is now one of the most expensive and valuable comic book issues of all time. The issue's first featured tale which starred Superman was the first to feature an origin story of superheroes with the reveal of an unnamed planet later known as Krypton that he is said to be from. The issue also contained the first essential supporting character and one of the earliest essential female characters in comics with Lois Lane as Superman's first depicted romantic interest. The Green Hornet-inspired character known as the Crimson Avenger by Jim Chamber was featured in Detective Comics No. 20 (October 1938). The character makes a distinction of being the first masked vigilante published by DC. An unnamed "office boy" retconned as Jimmy Olsen's first appearance was revealed in Action Comics #6's (November 1938) Superman story by Siegel and Shuster.

Starting in 1939, Siegel and Shuster's Superman would be the first comic derived character to appear outside of comic magazines and later appear in newspaper strips starring himself which first introduced Superman's biological parents, Jor-El and Lara. All-American Publications' first comic series called All-American Comics was first published in April 1939. The series of Detective Comics would make successful history as first featuring Batman by Bob Kane and Bill Finger in issue#27 (March 1939) with the request of more superhero titles. Batman was depicted as a masked vigilante depicted as wearing a suit known as the Batsuit along with riding a car that would later be referred to as the Batmobile. Also within the Batman story was the supporting character, James Gordon, Police commissioner of what later would be Gotham City Police Department. Despite being a parody, All-American Publications introduced the earliest female character who would later be a female superhero called 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). Another important Batman debut was the introduction of the fictional mansion known as Wayne Manor first seen in Detective Comics No. 28 (June 1939). The series Adventure Comics would eventually follow in the Action Comics and Detective Comics series footsteps with featuring a new recurring superhero. The superhero called Sandman was first written in issue No. 40 (cover date: July 1939). Action Comics No. 13 (June 1939) introduced the first recurring Superman enemy referred to as the Ultra-Humanite first introduced by Siegel and Shuster, commonly cited as one of the earliest supervillain in comic books. The character Superman had another breakthrough with progress when the character had his own comic book starring him which was unheard of at the time. The first issue introduced in June 1939 helped directly introduce Superman's adoptive parents, Jonathan and Martha Kent by Siegel and Shuster. Detective Comics #29 (July 1939) introduced the Batman's utility belt by Gardner Fox. 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. Fictional cities would be a common theme of DC. The first revealed city was Superman's home city, Metropolis, that was originally named in Action Comics No. 16 in September 1939. Detective Comics No. 31 in September 1939 by Gardner Fox, Bob Kane and Sheldon Moldoff introduced a romantic interest of Batman called Julie Madison, the weapon known as the Batarang that Batman commonly uses along with the fictional aircraft called the Batplane. Batman's origin would first be used in Detective Comics No. 33 (Nov. 1939) first depicting the death of Thomas Wayne and Martha Wayne by a mugger. The origin story would remain crucial for the fictional character since the inception. TheDaily Planet (a common setting of Superman) was first named in a newspaper strip of Superman around November 1939. The superhero Doll Man was the first superhero by Quality that DC now owns. Fawcett Comics was formed around 1939 and would end up as DC's original competitor company in the next decade.

National Allied Publications soon merged with Detective Comics, Inc., forming National Comics Publications on September 30, 1946. National Comics Publications absorbed an affiliated concern, Max Gaines' and Liebowitz' All-American Publications. In the same year Gaines let Liebowitz buy him out, and kept only Picture Stories from the Bible as the foundation of his own new company, EC Comics. 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". National Periodical Publications became publicly traded on the stock market in 1961.

Despite the official names "National Comics" and "National Periodical Publications", the company began branding itself as "Superman-DC" as early as 1940, and the company became known colloquially as DC Comics for years before the official adoption of that name in 1977.

The company 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, at the time comics' top-selling character (see National Comics Publications, Inc. v. Fawcett Publications, Inc.). Faced with declining sales and the prospect of bankruptcy if it lost, Fawcett capitulated in 1953 and ceased publishing comics. Years later, Fawcett sold the rights for Captain Marvel to DC-which in 1972 revived Captain Marvel in the new title Shazam! featuring artwork by his creator, C. C. Beck. In the meantime, the abandoned trademark had been seized by Marvel Comics in 1967, with the creation of their Captain Marvel, forbidding the DC comic itself to be called that. While Captain Marvel did not recapture his old popularity, he later appeared in a Saturday morning live action TV adaptation and gained a prominent place in the mainstream continuity DC calls the DC Universe.

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

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 . 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 did not reimagine its continuing characters (primarily Superman, Batman, and Wonder Woman), but radically overhauled 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, together with artist 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 mythological context.

Since the 1940s, when Superman, Batman, and many of the company's other heroes began appearing in stories together, DC's characters inhabited a shared continuity that, decades later, was 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) introduced a concept that allowed slotting the 1930s and 1940s Golden Age heroes into this continuity via the explanation that they lived on an other-dimensional "Earth 2", as opposed to the modern heroes' "Earth 1"-in the process creating the foundation for what was later called the DC Multiverse.

DC's introduction of the reimagined superheroes did not go unnoticed by other comics companies. In 1961, with DC's JLA as the specific spur, Marvel Comics writer-editor Stan Lee and a robust creator Jack Kirby ushered in the sub-Silver Age "Marvel Age" of comics with the debut issue of The Fantastic Four. Reportedly, DC ignored the initial success of Marvel with this editorial change until its consistently strengthening sales, albeit also benefiting Independent News' business as their distributor as well, made that impossible. That commercial situation especially applied with Marvel's superior sell-through percentage numbers which were typically 70% to DC's roughly 50%, which meant DC's publications were barely making a profit in comparison after returns from the distributors were calculated while Marvel was making an excellent profit by comparison.

However, the senior DC staff were reportedly at a loss at this time to understand how this small publishing house was achieving this increasingly threatening commercial strength. For instance, when Marvel's product was examined in a meeting, Marvel's emphasis on more sophisticated character-based narrative and artist-driven visual storytelling was apparently ignored for self-deluding guesses at the brand's popularity which included superficial reasons 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.

However, this ignorance of Marvel's true appeal did not extend to some of the writing talent during this period, from which there were some attempts to emulate Marvel's narrative approach. For instance, there was the Doom Patrol series by Arnold Drake, a writer who previously warned the management of the new rival's strength; a superhero team of outsiders who resented their freakish powers, which Drake later speculated was plagiarized by Stan Lee to create . There was also the young Jim Shooter who purposely emulated Marvel's writing when he wrote for DC after much study of both companies' styles, such as for the Legion of Super-Heroes feature.

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 created most of DC's initial cartoons) and other media. DC significantly lightened the tone of many DC comics-particularly and Detective Comics-to better complement the "camp" tone of the TV series. This tone coincided with the famous "Go-Go Checks" checkerboard cover-dress which featured a black-and-white checkerboard strip (all DC books cover dated February 1966 until August 1967) at the top of each comic, a misguided attempt by then-managing editor Irwin Donenfeld to make DC's output "stand out on the newsracks". In particular, DC artist, Carmine Infantino, complained that the visual cover distinctiveness made DC's titles easier for readers to see and then avoid in favor of Marvel's titles.

In 1967, Batman artist 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 attempted to infuse the company with more focus towards marketing new and existing titles and characters with more adult sensibilities towards an emerging older age group of superhero comic book fans that grew out of Marvel's efforts to market their superhero line to college-aged adults. He 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 replaced some existing DC editors with artist-editors, including Joe Kubert and Dick Giordano, to give DC's output a more artistic critical eye.

Kinney National Company/Warner Communications subsidiary (1967-1990)

In 1967, National Periodical Publications was purchased by Kinney National Company, 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. 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 , Mister Miracle, and The Forever People, Kirby introduced such enduring characters and concepts as archvillain 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., Obligated by his contract, Kirby created other unrelated series for DC, including , , and , before ultimately returning to Marvel Comics.

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. 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 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. In June 1978, five months before the release of the first Superman movie, 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". 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". In September 1978, the line was dramatically reduced and standard-size books returned to 17-story pages but for a still increased 40 cents. 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 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 Perez.

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 lead to subsequent similar titles and later more ambitious productions like Camelot 3000 for the direct market in 1982.

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 , but rooted in DC history, earned significant sales 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.

This successful revitalization of the Silver Age Teen Titans led DC's editors 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.

Two DC limited series, Batman: The Dark Knight Returns by Frank Miller and by Moore and artist Dave Gibbons, drew attention in the mainstream press for their dark psychological complexity and promotion of the antihero. 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.

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 , , The Unknown Soldier, and Weird War Tales.

Time Warner/AOL Time Warner/WarnerMedia unit (1990-present)

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 movie was released, and DC began publishing its hardcover series of DC Archive Editions, collections of many of their early, key comics series, featuring rare and expensive stories unseen by many modern fans. Restoration for many of the Archive Editions was handled by Rick Keene with colour restoration by DC's long-time resident colourist, Bob LeRose. These collections attempted to retroactively credit many of the writers and artists who had worked without much recognition for DC during the early period of comics when individual credits were few and far between.

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 intent 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 which gained attention from the mainstream media. DC's extended storylines in which Superman was killed, Batman was crippled and superhero Green Lantern turned into the supervillain Parallax resulted in dramatically increased sales, but the increases were as temporary as the hero's replacements. 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. The stories in the line were part of its own shared universe.

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 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, including The League of Extraordinary Gentlemen, , and . Moore strongly contested this situation, and DC eventually stopped publishing ABC.

In March 2003 DC acquired publishing and merchandising rights to the long-running fantasy series , 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 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 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 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 escalated 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, , 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, with All-Star Wonder Woman and All-Star Batgirl announced in 2006 but neither being released nor scheduled as of the end of 2009.

DC licensed characters from the Archie Comics imprint Red Circle Comics by 2007. They appeared in the Red Circle line, based in the DC Universe, with a series of one-shots followed by a miniseries that lead into two ongoing titles, each lasting 10 issues.

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.

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

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.

On June 4, 2013, DC unveiled two new digital comic innovations to enhance interactivity: and DC² Multiverse. 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. will first appear in the upcoming digital-first title, , based on the 1960s television series and DC² Multiverse will first appear in Batman: Arkham Origins, a digital-first title based on the video game of the same name.

In 2016, DC announced a line-wide relaunch titled DC Rebirth. 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.

In January 2019 it was reported that 7 of the DC's 240 person workforce were laid off, including several vice presidents.

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. However, Bleeding Cool reported that he was fired.

On 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. The main presentation, entitled "DC FanDome: Hall of Heroes", was held as scheduled on August 22. 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 and will once again return on October 16, 2021.

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.

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.

DC Entertainment, Inc. is a subsidiary of Warner Bros. that manages its comic book units and intellectual property (characters) in other units as they work with other Warner Bros. units.

In September 2009, Warner Bros. announced that DC Comics would become a subsidiary of DC Entertainment, Inc., with Diane Nelson, President of Warner Premiere, becoming president of the newly formed holding company and DC Comics President and Publisher Paul Levitz moving to the position of Contributing Editor and Overall Consultant there. Warner Bros. and DC Comics have been owned by the same company since 1969.

On February 18, 2010, DC Entertainment named Jim Lee and Dan DiDio as Co-Publishers of DC Comics, Geoff Johns as Chief Creative Officer, John Rood as EVP (Executive Vice President) of Sales, Marketing and Business Development, and Patrick Caldon as EVP of Finance and Administration.

In October 2013, DC Entertainment announced that the DC Comics offices were going to move from New York City to Warner Bros. Burbank, California, headquarters in 2015. The other units, animation, movie, TV and portfolio planning, had preceded DC Comics by moving there in 2010.

DC Entertainment announced its first franchise, the DC Super Hero Girls universe, in April 2015 with multi-platform content, toys and apparel to start appearing in 2016.

Warner Bros. Pictures reorganized in May 2016 to have genre responsible film executives, thus DC Entertainment franchise films under Warner Bros. were placed under a newly created division, DC Films, created under Warner Bros. executive vice president Jon Berg and DC chief content officer Geoff Johns. This was done in the same vein as Marvel Studios in unifying DC-related filmmaking under a single vision and clarifying the greenlighting process. Johns also kept his existing role at DC Comics. Johns was promoted to DC president & CCO with the addition of his DC Films while still reporting to DCE President Nelson. In August 2016, Amit Desai was promoted from senior vice president, marketing & global franchise management to exec vice president, business and marketing strategy, direct-to-consumer and global franchise management.

DC Entertainment and Warner Bros. Digital Networks announced in April 2017 DC Universe digital service to be launched in 2018 with two original series.

With frustration over DC Films not matching Marvel Studios' results and Berg wanting to step back to being a producer in January 2018, it was announced that Warner Bros. executive Walter Hamada was appointed president of DC film production. After a leave of absence starting in March 2018, Diane Nelson resigned as president of DC Entertainment. The company's executive management were to report to WB Chief Digital Officer Thomas Gewecke until a new president is selected. In June 2018, Johns was also moved out of his position as chief creative officer and DC Entertainment president for a writing and producing deal with the DC and WB companies. Jim Lee added DC Entertainment chief creative officer title to his DC co-publisher post. In September 2018, DC became part of the newly-founded Warner Bros. Global Brands and Franchises division overseen by President Pam Lifford.

In August 2020, DC Comics publisher Jim Lee revealed that all original programming would be migrated over to HBO Max. Speaking to the community aspect of DC Universe, as well as the ability to access the backlog of comics titles, Lee said "there is always going to be a need for that" and that DC was looking at ways to transform the platform so that content would not go away.

In September 2020, DC announced that the service would change its name to DC Universe Infinite and become solely a digital comics subscription service on January 21, 2021. The service would offer currently published DC Comics titles six months after their retail release date (before the change, current comics would arrive a year after their release date), early access to DC Comics' digital first titles, would feature exclusive comics created for the service, and access to 24,000 titles in DC's back catalog. DC Universe subscriptions will automatically transfer over to DC Universe Infinite. Regarding the original programming, Young Justice seasons 1-4, Titans season 1-3, Doom Patrol seasons 1-3, the first season of Stargirl, and Harley Quinn seasons 1-3 will move to HBO Max to become Max Original series, with new DC series and "key DC classics" also being available on HBO Max.

DC's first logo appeared on the April 1940 issues of its titles. The small logo, with no background, read simply, "A DC Publication".

The November 1941 DC titles introduced an updated logo. This version was almost twice the size of the previous one and was the first version 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, where the logo has usually resided since. The company now referred to itself in its advertising as "Superman-DC".

In November 1949, the logo was modified to incorporate the company's formal name, National Comics Publications. This logo also served as the round body of Johnny DC, DC's mascot in the 1960s.

In October 1970, DC briefly retired the circular logo in favour of a simple "DC" in a rectangle with the name of the title, or the star of the book; the logo on many issues of Action Comics, for example, read "DC Superman". An image of the lead character either appeared above or below the rectangle. For books that did not have a single star, such as anthologies like House of Mystery or team series such as Justice League of America, the title and "DC" appeared in a stylized logo, such as a bat for "House of Mystery". This use of characters as logos helped to establish the likenesses as trademarks, and was similar to Marvel's contemporaneous use of characters as part of its cover branding.

DC's "100 Page Super-Spectacular" titles and later 100-page and "Giant" issues published from 1972 to 1974 featured a logo exclusive to these editions: the letters "DC" in a simple sans-serif typeface within a circle. A variant had the letters in a square.

The July 1972 DC titles featured a new circular logo. The letters "DC" were rendered in a block-like typeface that remained through later logo revisions until 2005. The title of the book usually appeared inside the circle, either above or below the letters.

In December 1973, this logo was modified with the addition of the words "The Line of DC Super-Stars" and the star motif that continued in later logos. This logo was placed in the top center of the cover from August 1975 to October 1976.

When Jenette Kahn became DC's publisher in late 1976, she commissioned graphic designer Milton Glaser to design a new logo. Popularly referred to as the "DC bullet", this logo premiered on the February 1977 titles. Although it varied in size and colour and was at times cropped by the edges of the cover, or briefly rotated 4 degrees, it remained essentially unchanged for nearly three decades. Despite logo changes since 2005, the old "DC bullet" continues to be used only on the DC Archive Editions series.

In July 1987, DC released variant editions of Justice League No. 3 and The Fury of Firestorm No. 61 with a new DC logo. It featured a picture of Superman in a circle surrounded by the words "SUPERMAN COMICS". The company released these variants to newsstands in certain markets as a marketing test.

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. In addition to comics, it was designed for DC properties in other media, which was used for movies since Batman Begins, with Superman Returns showing the logo's normal variant, and the TV series Smallville, the animated series Justice League Unlimited and others, as well as for collectibles and other merchandise. The logo was designed by Josh Beatman of Brainchild Studios and DC executive Richard Bruning.

In March 2012, DC unveiled a new logo consisting of the letter "D" flipping back to reveal the letter "C" and "DC ENTERTAINMENT". The Dark Knight Rises was the first film to use the new logo, while the TV series was the first series to feature the new logo.

DC Entertainment announced a new identity and logo for another iconic DC Comics universe brand on May 17, 2016. The new logo was first used on May 25, 2016, in conjunction with the release of DC Universe: Rebirth Special #1 by Geoff Johns.

DC Universe was a video on demand service operated by DC Entertainment. It was announced in April 2017, with the title and service formally announced in May 2018. DC Universe offered video content, fan interaction, comics, and television. In August 2020, DC publisher Jim Lee announced that all video content from DC Universe would migrate to HBO Max, with the majority of the staff of DC Universe having been laid off.

In January 2021, the service relaunched as DC Universe Infinite, a completely comic-centric platform, comparable to Marvel Unlimited, offering DC's entire back catalog of comics, as well as new titles sixth months after their on-sale date.

DC Comics are available in digital form through several sources.

Free services: In 2015, Hoopla Digital became the first library-based digital system to distribute DC Comics.

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DC Comics, Inc. is an American comic book publisher and the flagship unit of DC Entertainment, a subsidiary of the Warner Bros. Global Brands and Experiences division of Warner Bros., which itself is a subsidiary of AT&T's WarnerMedia through its Studios & Networks division.

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The Golden Age of Comic Books describes an era in the history of American comic books from 1938 to 1956. During this time, modern comic books were first published and rapidly increased in popularity. The superhero archetype was created and many well-known characters were introduced, including Superman, Batman, Robin, Captain Marvel, Captain America, and Wonder Woman.

The first recorded use of the term "Golden Age" was by Richard A. Lupoff in an article, "Re-Birth", published in issue one of the fanzine in April 1960.

An event cited by many as marking the beginning of the Golden Age was the 1938 debut of Superman in Action Comics #1, published by Detective Comics (predecessor of DC Comics). Superman's popularity helped make comic books a major arm of publishing, which led rival companies to create superheroes of their own to emulate Superman's success.

World War II

Whiz Comics #2 (Feb. 1940), with the first appearance of Captain Marvel
Cover art by C. C. Beck

Between 1939 and 1941 Detective Comics and its sister company, All-American Publications, introduced popular superheroes such as Batman and Robin, Wonder Woman, the Flash, Green Lantern, Doctor Fate, the Atom, Hawkman, Green Arrow and Aquaman. Timely Comics, the 1940s predecessor of Marvel Comics, had million-selling titles featuring the Human Torch, the Sub-Mariner, and Captain America. Although DC and Timely characters are well remembered today, circulation figures suggest that the best-selling superhero title of the era was Fawcett Comics' Captain Marvel Adventures with sales of about 1.4 million copies per issue. The comic was published biweekly at one point to capitalize on its popularity. Another notable series was by Will Eisner, which deviated from the usual publishing model of the period as a weekly multi-page supplement in the Register and Tribune Syndicate newspapers that Eisner held the copyright, a rare consideration for creators of that period.

Patriotic heroes donning red, white, and blue were particularly popular during the time of the Second World War following the Shield's debut in 1940. Many heroes of this time period battled the Axis powers, with covers such as Captain America Comics #1 ( cover-dated March 1941) showing the title character punching Nazi leader Adolf Hitler.

As comic books grew in popularity, publishers began launching titles that expanded into a variety of genres. Dell Comics' non-superhero characters (particularly the licensed Walt Disney animated-character comics) outsold the superhero comics of the day. The publisher featured licensed movie and literary characters such as Mickey Mouse, Donald Duck, Roy Rogers and Tarzan. It was during this era that noted Donald Duck writer-artist Carl Barks rose to prominence. Additionally, MLJ's introduction of Archie Andrews in #22 (December 1941) gave rise to teen humor comics, with the Archie Andrews character remaining in print well into the 21st century.

At the same time in Canada, American comic books were prohibited importation under the War Exchange Conservation Act which restricted the importation of non-essential goods. Canadian publishers responded to this lack of competition by producing titles of their own, informally called the Canadian Whites. While these titles flourished during the war, they did not survive the lifting of trade restrictions afterwards.

Post-war and shift from superheroes

1940s comics were called "Golden Age" by 1963, as on the cover of Strange Tales #114 (November 1963).

A brief time period after the war until the mid-1950s is sometimes referred to as the Atomic Age of Comic Books. Some authors consider this an interregnum period or an era in its own right, but most regard it as still part of the Golden Age. During this time, the popularity of superhero comics waned. To retain reader interest, comic publishers diversified into other genres, such as war, Westerns, science fiction, romance, crime and horror. Many superhero titles were canceled or converted to other genres.[citation needed ]

In 1946, DC Comics' Superboy, Aquaman and Green Arrow were switched from More Fun Comics into Adventure Comics so More Fun could focus on humor. In 1948 All-American Comics, featuring Green Lantern, Johnny Thunder and Dr. Mid-Nite, was replaced with All-American Western.[citation needed ] The following year, Flash Comics and Green Lantern were canceled.[citation needed ] In 1951 All Star Comics, featuring the Justice Society of America, became All-Star Western. The next year Star Spangled Comics, featuring Robin, was retitled Star Spangled War Stories.[citation needed ] Sensation Comics, featuring Wonder Woman, was canceled in 1953.[citation needed ] The only superhero comics published continuously through the entire 1950s were Action Comics, Adventure Comics, , Detective Comics, , , Wonder Woman and World's Finest Comics.

Plastic Man appeared in Quality Comics' Police Comics until 1950, when its focus switched to detective stories; his solo title continued bimonthly until issue 52, cover-dated February 1955. Timely Comics' The Human Torch was canceled with issue #35 (March 1949) and Marvel Mystery Comics, featuring the Human Torch, with issue #93 (Aug. 1949) became the horror comic Marvel Tales. Sub-Mariner Comics was canceled with issue #42 (June 1949) and Captain America Comics, by then Captain America's Weird Tales, with #75 (Feb. 1950). Harvey Comics' was canceled in 1951 and rebooted as a horror comic later that year-the title would change to Black Cat Mystery, Black Cat Mystic, and eventually Black Cat Western for the final two issues, which included Black Cat stories. Lev Gleason Publications' was edged out of his title by the Little Wise Guys in 1950. Fawcett Comics' Whiz Comics, Master Comics and Captain Marvel Adventures were canceled in 1953, and The Marvel Family was canceled the following year.

Also during this period, the mass media with the advent of television were forcing media companies to put out comics that reflected the popular culture of the time period. Comic books focused on space, mystery, and suspense that television and other forms of media were turning to in the march toward scientific progress. According to historian Michael A. Amundson, appealing comic-book characters helped ease young readers' fear of nuclear war and neutralize anxiety about the questions posed by atomic power. It was during this period that long-running humor comics debuted, including EC Comics' series and Dell's series Uncle Scrooge (both in 1952).

End of the era

In 1953, the comic book industry hit a setback when the United States Senate Subcommittee on Juvenile Delinquency was created in order to investigate the problem of juvenile delinquency. After the publication of Fredric Wertham's Seduction of the Innocent the following year that claimed comics sparked illegal behavior among minors, comic book publishers such as EC's William Gaines were subpoenaed to testify in public hearings. As a result, the Comics Code Authority was created by the Association of Comics Magazine Publishers to enact self-censorship by comic book publishers. At this time, EC canceled its crime and horror titles and focused primarily on Mad. The Silver Age of Comic Books is generally recognized as beginning with the debut of the first successful new superhero since the Golden Age, DC Comics' new Flash, in #4 (Oct. 1956).

1. ^ Quattro, Ken (2004). "The New Ages: Rethinking Comic Book History". Archived from the original on September 5, 2015. ... according to fanzine historian Bill Schelly, 'The first use of the words "golden age" pertaining to the comics of the 1940s was by Richard A. Lupoff in an article called'"Re-Birth' in Comic Art #1 (April 1960).

2. ^ "The Golden Age of Comics". History Detectives: Special Investigations. PBS. The precise era of the Golden Age is disputed, though most agree that it was born with the launch of Superman in 1938.

3. ^ Spiegelman, Art (August 17, 2019). "Art Spiegelman: golden age superheroes were shaped by the rise of fascism". The Guardian. ISSN 0261-3077.

4. ^ Eury, Michael (2006). The Krypton Companion: A Historical Exploration of Superman Comic Books of 1958-1986. Raleigh, North Carolina: TwoMorrows Publishing. p. 116. ISBN 1893905616. since Superman inspired so many different super-heroes.

5. ^ Hatfield, Charles (2005). Alternative Comics: An Emerging Literature (1st ed.). Jackson, Mississippi: University Press of Mississippi. p. 10. ISBN 1578067197. the various Superman-inspired "costume" comics

6. ^ Madrid, Mike (September 30, 2013). Divas, Dames & Daredevils: Lost Heroines of Golden Age Comics. Minneapolis, MN: Exterminating Angel Press. p. 29.

7. ^ Telling, Gillian (July 6, 2015). "Mark Waid discusses 'overwhelmingly positive' reaction to Archie Andrews' new look after 75 years of Archie". Entertainment Weekly. Time Inc..

8. William W. Savage, ^ Commies, Cowboys, and Jungle Queens: Comic Books and America, 1945-1954, Wesleyan University Press, 1998, p. 111.

9. ^ Daniel, Wallace; Gilbert, Laura (September 20, 2010). DC Comics Year By Year A Visual Chronicle. New York: DK Publishing. p. 51. ISBN 978-0756667429. Following More Fun Comics change in focus the previous month, the displaced super-heroes Superboy, Green Arrow, Johnny Quick, Aquaman, and the Shining Knight were welcomed by Adventure Comics.

10. ^ Szasz, Ferenc (September 15, 2013). "Atomic Comics Cartoonists Confront the Nuclear World". University of Nevada Press. Archived from the original on August 23, 2023.

11. ^ Zeman, Scott C.; Amundson, Michael A. (2004). Atomic Culture: How We Learned to Stop Worrying and Love the Bomb. Boulder, Colorado: University Press of Colorado. p. 11. ISBN 9780870817632.

12. ^ Binder, Arnold; Geis, Gilbert (January 1, 2001). Juvenile Delinquency: Historical, Cultural & Legal Perspectives (Third ed.). Cincinnati, Ohio: Routledge. p. 220. ISBN 1583605037.

13. ^ Shutt, Craig (2003). Baby Boomer Comics: The Wild, Wacky, Wonderful Comic Books of the 1960s!. Iola, Wisconsin: Krause Publications. p. 20. ISBN 087349668X. The Silver Age started with Showcase #4, the Flash's first appearance.

14. ^ Sassiene, Paul (1994). The Comic Book: The One Essential Guide for Comic Book Fans Everywhere. Edison, New Jersey: Chartwell Books, a division of Book Sales. p. 69. ISBN 9781555219994. DC's Showcase No. 4 was the comic that started the Silver Age

15. ^ "DC Flashback: The Flash". Comic Book Resources. July 2, 2007. Archived from the original on January 12, 2009.

# data[].attributes.attachment_link.description
The Golden Age of Comic Books describes an era in the history of American comic books from 1938 to 1956. During this time, modern comic books were first published and rapidly increased in popularity. The superhero archetype was created and many well-known characters were introduced, including Superman, Batman, Robin, Captain Marvel, Captain America, and Wonder Woman.