History Creator / DCComics

17th Apr '16 12:00:59 PM BlackSunNocturne
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Added DiffLines:

* DepartmentOfRedundancyDepartment: DC stands for "Detective Comics". So the company's current name iteration in full is "Detective Comics Comics".
12th Mar '16 3:43:52 PM Mario1995
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In the mid-1950s, DC revived their old superhero, Franchise/TheFlash, in order to appear in their anthology ''Showcase''. Rather than bringing back the old character, the writers introduced a new hero with a new secret identity and a scifi-based origin. Following the success of this story, the Franchise/GreenLantern was similarly reimagined, and National began increasing their superhero output. This practise was copied by several other publishers, most notably Marvel, who actually managed to exceed DC's sales and popularity in the 60s due to stronger writing. In 1967, DC managed to get some of this popularity by bringing Creator/SteveDitko over from Marvel, who introduced elements such as [[{{Antihero}} flawed heroes]] and personality clashes during team-up stories. Around the same time, Kinney National Company (who would become the parent of film studio Creator/WarnerBrothers) purchased DC Comics, integrating it as a division of Warner Bros. in the process. In the 70s, DC began to expand into more mature stories, attracting teenagers and young adults who previously considered comics to be exclusively a kids' medium.

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In the mid-1950s, DC revived their old superhero, Franchise/TheFlash, in order to appear in their anthology ''Showcase''. Rather than bringing back the old character, the writers introduced a new hero with a new secret identity and a scifi-based origin. Following the success of this story, the Franchise/GreenLantern was similarly reimagined, and National began increasing their superhero output. This practise was copied by several other publishers, most notably Marvel, who actually managed to exceed DC's sales and popularity in the 60s due to stronger writing. In 1967, DC managed to get some of this popularity by bringing Creator/SteveDitko over from Marvel, who introduced elements such as [[{{Antihero}} flawed heroes]] and personality clashes during team-up stories. Around the same time, the conglomerate Kinney National Company (who would become the parent of film studio Creator/WarnerBrothers) Creator/WarnerBrothers shortly after) purchased DC Comics, integrating it as a division of Warner Bros. in the process. In the 70s, DC began to expand into more mature stories, attracting teenagers and young adults who previously considered comics to be exclusively a kids' medium.
12th Mar '16 3:42:42 PM Mario1995
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In the mid-1950s, DC revived their old superhero, Franchise/TheFlash, in order to appear in their anthology ''Showcase''. Rather than bringing back the old character, the writers introduced a new hero with a new secret identity and a scifi-based origin. Following the success of this story, the Franchise/GreenLantern was similarly reimagined, and National began increasing their superhero output. This practise was copied by several other publishers, most notably Marvel, who actually managed to exceed DC's sales and popularity in the 60s due to stronger writing. In 1967, DC managed to get some of this popularity by bringing Creator/SteveDitko over from Marvel, who introduced elements such as [[{{Antihero}} flawed heroes]] and personality clashes during team-up stories. In the 70s, DC began to expand into more mature stories, attracting teenagers and young adults who previously considered comics to be exclusively a kids' medium.

to:

In the mid-1950s, DC revived their old superhero, Franchise/TheFlash, in order to appear in their anthology ''Showcase''. Rather than bringing back the old character, the writers introduced a new hero with a new secret identity and a scifi-based origin. Following the success of this story, the Franchise/GreenLantern was similarly reimagined, and National began increasing their superhero output. This practise was copied by several other publishers, most notably Marvel, who actually managed to exceed DC's sales and popularity in the 60s due to stronger writing. In 1967, DC managed to get some of this popularity by bringing Creator/SteveDitko over from Marvel, who introduced elements such as [[{{Antihero}} flawed heroes]] and personality clashes during team-up stories. Around the same time, Kinney National Company (who would become the parent of film studio Creator/WarnerBrothers) purchased DC Comics, integrating it as a division of Warner Bros. in the process. In the 70s, DC began to expand into more mature stories, attracting teenagers and young adults who previously considered comics to be exclusively a kids' medium.
28th Dec '15 8:08:27 AM Anddrix
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DC's supernatural paradigm has changed considerably. In the 1990s, with the growing influence of the ComicBook/SwampThing and the beginning of the Kali Yuga storyline, DC left behind the Cosmic Good versus Cosmic Evil convention once common in superhero stories. Instead, according to current DC metaphysics, the cosmic battle involves LawfulNeutral (angels, Lords of Order) versus ChaoticNeutral (demons, Lords of Chaos), with both sides fairly indifferent to human perspectives about good or evil. (The only except to this seems to be the DC version of God, who is Good rather than Lawful, and the Devil, who varies according to the writer.) This cosmic disinterest in good/evil issues has been a major motivation for ComicBook/ThePhantomStranger and Comicbook/{{Deadman}} in their choices to side with humans instead of TheOmniscientCouncilOfVagueness of the week.

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DC's supernatural paradigm has changed considerably. In the 1990s, with the growing influence of the ComicBook/SwampThing and the beginning of the Kali Yuga storyline, DC left behind the Cosmic Good versus Cosmic Evil convention once common in superhero stories. Instead, according to current DC metaphysics, the cosmic battle involves LawfulNeutral (angels, Lords of Order) versus ChaoticNeutral (demons, Lords of Chaos), with both sides fairly indifferent to human perspectives about good or evil. (The only except to this seems to be the DC version of God, who is Good rather than Lawful, and the Devil, who varies according to the writer.) This cosmic disinterest in good/evil issues has been a major motivation for ComicBook/ThePhantomStranger and Comicbook/{{Deadman}} Deadman in their choices to side with humans instead of TheOmniscientCouncilOfVagueness of the week.
2nd Nov '15 1:10:39 PM JamesAustin
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* WillingSuspensionOfDisbelief: The operations of society in superhero comics. Aka: the "you are a special snowflake and no one could ever do what you can do" fantasy. In real life, of course, no one person is so "super" they outperform every other human being on the planet at the same time. In comics, technology is not copied wholesale by mook police or military because the readers want to read about superheroes, not about super-police spending all day filling out forms and following regulations. So the world is un-naturally "stacked" by the writers beforehand to accommodate the premise.

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* WillingSuspensionOfDisbelief: WillingSuspensionOfDisbelief:
**
The operations of society in superhero comics. Aka: the "you are a special snowflake and no one could ever do what you can do" fantasy. In real life, of course, no one person is so "super" they outperform every other human being on the planet at the same time. In comics, technology is not copied wholesale by mook police or military because the readers want to read about superheroes, not about super-police spending all day filling out forms and following regulations. So the world is un-naturally "stacked" by the writers beforehand to accommodate the premise.



** In other words Shouldn't we have an army of Iron Mans?
17th Oct '15 10:02:06 PM nombretomado
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* PostCrisis: The TropeMaker, and still an idea that dominates discussions of DC Comics, especially with the New 52's wholesale reboot.

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* PostCrisis: ComicBook/PostCrisis: The TropeMaker, and still an idea that dominates discussions of DC Comics, especially with the New 52's wholesale reboot.
3rd Jul '15 7:16:21 AM fusilcontrafusil
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* Franchise/DCExtendedUniverse (''Film/ManOfSteel'' and related films)

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* Franchise/DCExtendedUniverse Film/DCExtendedUniverse (''Film/ManOfSteel'' and related films)
3rd Jul '15 6:00:56 AM fusilcontrafusil
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[floatboxright:Universes
* Franchise/TheDCU
* Franchise/{{DCAU}}
* WesternAnimation/DCUniverseAnimatedOriginalMovies

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[floatboxright:Universes
[floatboxright:DC universes with their own articles
* Franchise/TheDCU
Franchise/TheDCU (Main comics)
* Franchise/{{DCAU}}
Franchise/{{DCAU}} (''WesternAnimation/BatmanTheAnimatedSeries'' and related shows)
* WesternAnimation/DCUniverseAnimatedOriginalMoviesWesternAnimation/DCUniverseAnimatedOriginalMovies (Direct-to-video animated films starting with ''WesternAnimation/SupermanDoomsday'')
* Franchise/DCExtendedUniverse (''Film/ManOfSteel'' and related films)
* Franchise/ArrowVerse (''Series/Arrow'' and related shows)



[floatboxright:Imprints

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[floatboxright:Imprints[floatboxright:DC Comics imprints
13th May '15 6:51:29 PM nombretomado
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In addition, DC took a chance on some of the talent from Britain and gave some of the promising talents, such as Creator/AlanMoore, GrantMorrison, and Brian Bolland, a shot at their lesser titles. The result was an explosion of astounding creativity that signaled the comic book version of the BritishInvasion. Mainstream comics would never be the same.

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In addition, DC took a chance on some of the talent from Britain and gave some of the promising talents, such as Creator/AlanMoore, GrantMorrison, Creator/GrantMorrison, and Brian Bolland, a shot at their lesser titles. The result was an explosion of astounding creativity that signaled the comic book version of the BritishInvasion. Mainstream comics would never be the same.
14th Apr '15 5:40:56 PM nombretomado
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In the late 80s, DC was responsible for catapulting comics to a new era of respectability and critical acclaim. Part of this was their epic, {{continuity}}-shaking ''ComicBook/CrisisOnInfiniteEarths'', which showed that comics could tell stories as effectively as any novel or movie. The other was a pair of [[{{Deconstruction}} deconstructive]] works, Creator/AlanMoore[='=]s ''ComicBook/{{Watchmen}}'' and Creator/FrankMiller's ''Comicbook/BatmanTheDarkKnightReturns'', both of which brought a new level of intelligence and psychological complexity to the medium. They also kicked off the craze for DarkerAndEdgier, HotterAndSexier comics, and started the so-called DarkAge. In the wake of this, all the other publishers started [[FollowTheLeader copying them]], and even the main [[Franchise/TheDCU DC Universe]] became somewhat darker to accommodate the new tastes.

to:

In the late 80s, DC was responsible for catapulting comics to a new era of respectability and critical acclaim. Part of this was their epic, {{continuity}}-shaking ''ComicBook/CrisisOnInfiniteEarths'', which showed that comics could tell stories as effectively as any novel or movie. The other was a pair of [[{{Deconstruction}} deconstructive]] works, Creator/AlanMoore[='=]s ''ComicBook/{{Watchmen}}'' and Creator/FrankMiller's ''Comicbook/BatmanTheDarkKnightReturns'', both of which brought a new level of intelligence and psychological complexity to the medium. They also kicked off the craze for DarkerAndEdgier, HotterAndSexier comics, and started the so-called DarkAge.[[UsefulNotes/TheDarkAgeOfComicBooks Dark Age]]. In the wake of this, all the other publishers started [[FollowTheLeader copying them]], and even the main [[Franchise/TheDCU DC Universe]] became somewhat darker to accommodate the new tastes.
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