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The Big Comic Magazine 1 with a cover date of February In DC revived Adventure Comics with its original numbering. Wheeler-Nicholson's third and final title, Detective Comics , advertised with a cover illustration dated December , eventually premiered three months late with a March cover date. The themed anthology series would become a sensation with the introduction of Batman in issue 27 May By then, however, Wheeler-Nicholson had gone. In , 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 in order to publish Detective Comics 1. 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. Action Comics 1 June , the first comic book to feature the new character archetype—soon known as " superheroes "—proved a sales hit. The company quickly introduced such other popular characters as the Sandman and Batman. 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". Beck — at the October Minneapolis Comic-Con. 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. Faced with declining sales and the prospect of bankruptcy if it lost, Fawcett capitulated in and ceased comics publication. In the meantime, the abandoned trademark had been seized by Marvel Comics in , 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 s, 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 mids 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. Silver Age of Comic Books In the mids, editorial director Irwin Donenfeld and publisher Liebowitz directed editor Julius Schwartz whose roots lay in the science-fiction book market to produce a one-shot Flash story in the try-out title Showcase. Instead of reviving the old character, Schwartz had writers Robert Kanigher and John Broome , penciler Carmine Infantino , and inker Joe Kubert create an entirely new super-speedster, updating and modernizing the Flash's civilian identity, costume, and origin with a science-fiction bent. The Flash's reimagining in Showcase 4 October 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. Schwartz, together with artist Infantino, then revitalized Batman in what the company promoted as the "New Look", 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 s, 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 September , editor Schwartz with writer Gardner Fox and artists Infantino and Joe Giella introduced a concept that allowed slotting the s and s 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 would later be called the DC Multiverse. DC's introduction of the reimagined superheroes did not go unnoticed by other comics companies. 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. For instance, there was the Doom Patrol series by Arnold Drake , a superhero team of outsiders who resented their freakish powers,  which Drake later speculated was plagiarized by Stan Lee to create The X-Men. 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 until August 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". 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. Given carte blanche to write and illustrate his own stories, he created a handful of thematically linked series he called collectively The Fourth World. In the existing series Superman's Pal Jimmy Olsen and in his own, newly launched series New Gods , Mister Miracle , and The Forever People , Kirby introduced such enduring characters and concepts as archvillain Darkseid and the other-dimensional realm Apokolips. Furthermore, Kirby intended their stories to be later reprinted in collected editions in a publishing format that would later be called the trade paperback , which would become 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 the "Fourth World" was all cancelled, although Kirby's conceptions would soon become integral to the broadening of the DC Universe. The Bronze Age[ edit ] Main article: Bronze Age of Comic Books Following the science-fiction innovations of the Silver Age , the comics of the s and s would become 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! Jenette Kahn , a former children's magazine publisher, replaced Infantino as editorial director in January DC had attempted to compete with the now-surging Marvel by dramatically increasing its output and attempting to win the market by flooding it. This included launching series featuring such new characters as Firestorm and Shade, the Changing Man , as well as an increasing array of non-superhero titles, in an attempt to recapture the pre- Wertham days of post-War comicdom. In June , 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". 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. 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. 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. Their superhero-team comic, superficially similar to Marvel's ensemble series X-Men , 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. Crisis featured many key deaths that would shape the DC Universe for the following decades, and separate 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 , 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 establishing the Vertigo mature-readers imprint, which did not subscribe to the Comics Code Authority. The Dark Knight Returns by Frank Miller and Watchmen by Moore and artist Dave Gibbons , drew attention in the mainstream press for their dark psychological complexity and promotion of the antihero. These titles, all with over issues, included Sgt. 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. 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 s, 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 to in which the Archie Comics superheroes were licensed and revamped. Although the Milestone line ceased publication after a few years, it yielded the popular animated series Static Shock. In , 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. Agents , in collection into DC Archive Editions. It also rebranded its younger-audience titles with the mascot Johnny DC and established the CMX imprint to reprint translated manga. DC also took advantage of the demise of Kitchen Sink Press and acquired the rights to much of the work of Will Eisner , such as his The Spirit series and his graphic novels. In , 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 Zero Hour event which similarly tried to ret-con the history of the DCU. In , 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, 52 , to gradually fill in the missing time. Concurrently, DC lost the copyright to "Superboy" while retaining the trademark when the heirs of Jerry Siegel used a provision of the revision to the copyright law to regain ownership. In , DC launched its " All-Star " line evoking the title of the s 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 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 and lasting through fall DC2 and DC2 Multiverse. DC2 layers dynamic artwork onto digital comic panels, adding a new level of dimension to digital storytelling, while DC2 Multiverse allows readers to determine a specific story outcome by selecting individual characters, storylines and plot developments while reading the comic, meaning one digital comic has multiple outcomes. DC2 will first appear in the upcoming digital-first title, Batman '66 , based on the s 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. 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 Rebirth brought huge success, both financially and critically,    and laid the foundation for new and innovative ideas unlike anything DC had done before.
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