DC Comics: Америкалық комикстер баспасының тарихы

American comic book publisher
the US publisher of comics

DC Comics, Inc. (doing business as DC) is an American comic book publisher and the flagship unit of DC Entertainment, a subsidiary of Warner Bros. Discovery. DC is an initialism for "Detective Comics", an American comic book series first published in 1937. DC Comics is one of the largest and oldest American comic book companies, with their first comic under the DC banner being published in 1937. 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, the Flash, and Aquaman; as well as famous fictional teams including the Justice League, the Justice Society of America, the Teen Titans, and the Suicide Squad. The universe also features an assortment of well known supervillains such as the Joker, Lex Luthor, Deathstroke, the Reverse Flash, Brainiac, and Darkseid. The company has published non DC Universe related material, including Watchmen, V for Vendetta, Fables and many titles under their alternative imprint Vertigo and now DC Black Label. 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, but DC Entertainment relocated its headquarters 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, when Lunar Distribution and UCS Comic Distributors, who already dominated direct market distribution on account of the disruption to Diamond that resulted from 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, Warner Bros. Discovery'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.

In the mid 1950s, editorial director Irwin Donenfeld and publisher Liebowitz directed editor Julius Schwartz (whose roots lay in the science fiction book market) to produce a one shot Flash story in the try out title Showcase. Instead of reviving the old character, Schwartz had writers Robert Kanigher and John Broome, penciler Carmine Infantino, and inker Joe Kubert create an entirely new super speedster, updating and modernizing the Flash's civilian identity, costume, and origin with a science fiction bent. The Flash's reimagining in Showcase No. 4 (October 1956) proved sufficiently popular that it soon led to a similar revamping of the Green Lantern character, the introduction of the modern all star team Justice League of America (JLA), and many more superheroes, heralding what historians and fans call the Silver Age of Comic Books. National 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 The X Men. 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. In 1966, National Periodical Publications had set up its own television arm, led by Allen Ducovny to develop and produce projects for television, with Superman TV Corporation to handle its television distribution of NPP's TV shows. 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 Batman 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.

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 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 1977, the company officially changed its name to DC Comics. It had used the brand "Superman DC" since the 1950s, and was colloquially known as DC Comics for years. 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 page stories 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 led 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 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. 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 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 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 Sgt. Rock, G. I. Combat, The Unknown Soldier, and Weird War Tales.

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, Tom Strong, and Promethea. 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 Elfquest, previously self published by creators Wendy and Richard Pini under their WaRP Graphics publication banner. This series then followed another non DC title, Tower Comics' series T. H. U. N. D. E. R. Agents, in collection into DC Archive Editions. In 2004 DC temporarily acquired the North American publishing rights to graphic novels from European publishers 2000 AD and Humanoids. It also rebranded its younger audience titles with the mascot Johnny DC and established the CMX imprint to reprint translated manga. In 2006, CMX took over from Dark Horse Comics publication of the webcomic Megatokyo in print form. DC also took advantage of the demise of Kitchen Sink Press and acquired the rights to much of the work of Will Eisner, such as his The Spirit series and his graphic novels. In 2004, DC began laying the groundwork for a full continuity reshuffling sequel to Crisis on Infinite Earths, promising substantial changes to the DC Universe (and side stepping the 1994 Zero Hour event which similarly tried to ret con the history of the DCU). In 2005, the critically lauded Batman Begins film was released; also, the company published several limited series establishing increasingly 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 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: DC2 and DC2 Multiverse. DC2 layers dynamic artwork onto digital comic panels, adding a new level of dimension to digital storytelling, while DC2 Multiverse allows readers to determine a specific story outcome by selecting individual characters, storylines and plot developments while reading the comic, meaning one digital comic has multiple outcomes. DC2 appeared in the digital first title, Batman '66, based on the 1960s television series and DC2 Multiverse appeared in Batman: Arkham Origins, a digital first title based on the video game of the same name. In 2014, DC announced an eight issue miniseries titled Convergence which began in April 2015. 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.

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. In June 2020, Warner Bros. announced a separate DC themed online only convention. Known as DC FanDome, the free "immersive virtual fan experience" was a 24 hour long event held on August 22, 2020. 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 returned once again 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. Furthermore, AT&T spun off WarnerMedia to Discovery, forming Warner Bros. Discovery. This merger was completed on April 8, 2022. In January 2023, DC relaunched their line under the banner of Dawn of DC following the conclusion of Dark Crisis on Infinite Earths and Lazarus Planet. Later that year, Jim Lee was promoted to President of DC in May.

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. 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". 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.