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14th May '13 10:58:26 PM nombretomado

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The Dark Age is generally agreed to have begun in 1986 -- a watershed year in comics, seeing the publication of FrankMiller's ''Comicbook/TheDarkKnightReturns'' and AlanMoore's ''Comicbook/{{Watchmen}}''. While works both by these authors and others in the field had also displayed Dark Age sensibilities prior to these such as Moore's ''VForVendetta'' (1982), and Miller's ''ComicBook/{{Ronin}}'' (1983), ''Comicbook/{{Watchmen}}'' and ''Comicbook/TheDarkKnightReturns'' were the two works which provided much of the [[TropeCodifier direct inspiration]] for what followed. Both were dark, gritty and complex works which took the superhero genre and [[{{Deconstruction}} deconstructed it]], infusing it with greater political and psychological complexity and a greater amount of graphic sexual and violent content than had been seen previously. They also kick-started a trend for portraying superheroes not as the [[TheCape whiter-than-whitebread heroes of pure moral standing]] that had been the common default prior to these works, but as neurotic, tormented and at times borderline-fascistic {{Anti Hero}}es whose violent methods masked a whole range of psychological and sexual issues. They also achieved widespread mainstream attention, and acclaim within intellectual circles, something unheard in the industry before. This in effect briefly turned comics into the "hip" and "rebellious" medium.

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The Dark Age is generally agreed to have begun in 1986 -- a watershed year in comics, seeing the publication of FrankMiller's ''Comicbook/TheDarkKnightReturns'' and AlanMoore's ''Comicbook/{{Watchmen}}''. While works both by these authors and others in the field had also displayed Dark Age sensibilities prior to these such as Moore's ''ComicBook/VForVendetta'' (1982), and Miller's ''ComicBook/{{Ronin}}'' (1983), ''Comicbook/{{Watchmen}}'' and ''Comicbook/TheDarkKnightReturns'' were the two works which provided much of the [[TropeCodifier direct inspiration]] for what followed. Both were dark, gritty and complex works which took the superhero genre and [[{{Deconstruction}} deconstructed it]], infusing it with greater political and psychological complexity and a greater amount of graphic sexual and violent content than had been seen previously. They also kick-started a trend for portraying superheroes not as the [[TheCape whiter-than-whitebread heroes of pure moral standing]] that had been the common default prior to these works, but as neurotic, tormented and at times borderline-fascistic {{Anti Hero}}es whose violent methods masked a whole range of psychological and sexual issues. They also achieved widespread mainstream attention, and acclaim within intellectual circles, something unheard in the industry before. This in effect briefly turned comics into the "hip" and "rebellious" medium.

27th Apr '13 10:03:34 AM Magestad

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27th Apr '13 10:00:33 AM Magestad

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Ironically, during the Dark Age in comics, superhero movies had actually been a lot LighterAndSofter than the material they were taking inspiration from. So far, however, the Hollywood Dark Age is taking a much more nuanced approach than the comic one. Whereas the comics, for the most part, crammed as much sex and gore as humanly possible into the pages they were given, the movies are taking a less bloody approach; ''Film/TheDarkKnight'' relies on BloodlessCarnage like no other, and ''Film/{{Watchmen}}'' is gory but doesn't rely on the gore to tell a story (in fact, the climax is less gory in the movie than it was in the comic). For all we know, this could change in the future, just like how Alan Moore and Frank Miller gave way to ToddMcFarlane and RobLiefeld, although Hollywood's desire to attract wide audiences for their blockbusters will most likely keep things PG-13 such as with the 2012 megasmash ''Film/TheAvengers'' that seems to balance light stuff with dark. But then, there's 2010's ''Film/KickAss''.

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Ironically, during the Dark Age in comics, superhero movies had actually been a lot LighterAndSofter than the material they were taking inspiration from. So far, however, the Hollywood Dark Age is taking a much more nuanced approach than the comic one. Whereas the comics, for the most part, crammed as much sex and gore as humanly possible into the pages they were given, the movies are taking a less bloody approach ([[Film/ThreeHundred except when justified]]); ''Film/TheDarkKnight'' relies on BloodlessCarnage like no other, and ''Film/{{Watchmen}}'' is gory but doesn't rely on the gore to tell a story (in fact, the climax is less gory in the movie than it was in the comic). For all we know, this could change in the future, just like how Alan Moore and Frank Miller gave way to ToddMcFarlane and RobLiefeld, although Hollywood's desire to attract wide audiences for their blockbusters will most likely keep things PG-13 such as with the 2012 megasmash ''Film/TheAvengers'' that seems to balance light stuff with dark. But then, there's 2010's ''Film/KickAss''.

27th Apr '13 9:56:08 AM Magestad

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27th Apr '13 9:55:22 AM Magestad

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Snyder was misquoted and misconstrued; added more context for "dark" comic book movies

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In at least one medium, the DarkAge is still going strong; [[ComicBookAdaptation superhero movies]] have been increasingly focusing on much darker takes on superheroes, primarily represented by the release of ''Film/TheDarkKnight'' in 2008 and TheMovie of ''Film/{{Watchmen}}'' in 2009. (Rather fitting, knowing [[Comicbook/{{Watchmen}} what]] [[Comicbook/TheDarkKnightReturns comics]] kicked off the original Dark Age.) The upcoming {{Superman}} film, ''Film/ManOfSteel'', is also by far the darkest representation of the character; the producers say they want him to stop being a [[TheCape Boy Scout]] and "beat the snot out of people". Ironically, during the Dark Age in comics, superhero movies had actually been a lot LighterAndSofter than the material they were taking inspiration from. So far, however, the Hollywood Dark Age is taking a much more nuanced approach than the comic one. Whereas the comics, for the most part, crammed as much sex and gore as humanly possible into the pages they were given, the movies are taking a less bloody approach; ''Film/TheDarkKnight'' relies on BloodlessCarnage like no other, and ''Film/{{Watchmen}}'' is gory but doesn't rely on the gore to tell a story (in fact, the climax is less gory in the movie than it was in the comic). For all we know, this could change in the future, just like how Alan Moore and Frank Miller gave way to ToddMcFarlane and RobLiefeld, although Hollywood's desire to attract wide audiences for their blockbusters will most likely keep things PG-13 such as with the 2012 megasmash ''Film/TheAvengers'' that seems to balance light stuff with dark. But then, there's 2010's ''Film/KickAss''.

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In at least one medium, the DarkAge is still going strong; the number of [[ComicBookAdaptation comic book movies]] has increased in recent decades, and these tend to have darker takes on superheroes and other comics material. Arguably, this started with ''Film/{{Batman}}'' (1989), which sharply contrasted with the AdamWest TV show. ''Batman'' was followed by the even darker ''Batman Returns'' (1992). [[BatmanForever The following]] [[BatmanAndRobin films]] were relatively LighterAndSofter, but the series returned to a darker mood with the reboot ''BatmanBegins'' (2005) and [[TheDarkKnightSaga its sequels.]]  ''Film/{{Blade}}'' (1998) and ''[[Film/X-Men X-Men]]'' (2000) and their sequels continued the trend of [[MovieSuperheroesWearBlack movie superheroes wearing black]]. FrankMiller's ''Film/SinCity'' and ''[[Film/ThreeHundred 300]]'' were adapted into films in 2005 and 2006. TheMovie of AlanMoore's ''Film/{{Watchmen}}'' came in 2009. The latest {{Superman}} movies have also reflected the trend: 2006's ''SupermanReturns'' was a sequel and deliberate homage to the 70s-80s ones while also questioning his 21st century relevance, making him a parent out of wedlock and brutally sending him to death's door, and ''Film/ManOfSteel'', to be released 2013, is a reboot and by far the darkest representation of the character on film, with the filmmakers eschewing camp for a more serious and introspective take on his origin story.
 
Ironically, during the Dark Age in comics, superhero movies had actually been a lot LighterAndSofter than the material they were taking inspiration from. So far, however, the Hollywood Dark Age is taking a much more nuanced approach than the comic one. Whereas the comics, for the most part, crammed as much sex and gore as humanly possible into the pages they were given, the movies are taking a less bloody approach; ''Film/TheDarkKnight'' relies on BloodlessCarnage like no other, and ''Film/{{Watchmen}}'' is gory but doesn't rely on the gore to tell a story (in fact, the climax is less gory in the movie than it was in the comic). For all we know, this could change in the future, just like how Alan Moore and Frank Miller gave way to ToddMcFarlane and RobLiefeld, although Hollywood's desire to attract wide audiences for their blockbusters will most likely keep things PG-13 such as with the 2012 megasmash ''Film/TheAvengers'' that seems to balance light stuff with dark. But then, there's 2010's ''Film/KickAss''.

23rd Apr '13 5:12:14 PM urutapu

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24th Mar '13 9:56:48 PM mleggers

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TheDarkAgeOfComicBooks was the culmination of a gradual move towards an older audience for {{Comic Book}}s, particularly those featuring superheroes, that had started in TheBronzeAgeOfComicBooks. It's sometimes also called TheIronAgeOfComicBooks, to follow the Gold/Silver/Bronze progression, but Dark Age is the much more common term. Usually characterized as a DarkerAndEdgier period featuring an increased focus on sex, violence and dark, gritty portrayals of the characters involved, much of the content produced during this era is very controversial amongst comic book fans and is usually (depending on who you ask) considered either a welcome breath of fresh air after the medium languishing so long in its own version of the AnimationAgeGhetto, or a period of grotesque excess and immaturity...[[TakeAThirdOption or both.]]

The Dark Age is generally agreed to have begun in 1986 -- a watershed year in comics, seeing the publication of FrankMiller's ''Comicbook/TheDarkKnightReturns'' and AlanMoore's ''Comicbook/{{Watchmen}}''. Whilst works both by these authors and others in the field had also displayed Dark Age sensibilities prior to these such as Moore's ''VForVendetta'' (1982), and Miller's ''ComicBook/{{Ronin}}'' (1983), ''Comicbook/{{Watchmen}}'' and ''Comicbook/TheDarkKnightReturns'' were the two works which provided much of the [[TropeCodifier direct inspiration]] for what followed. Both were dark, gritty and complex works which took the superhero genre and [[{{Deconstruction}} deconstructed it]], infusing it with greater political and psychological complexity and a greater amount of graphic sexual and violent content than had been seen previously. They also kick-started a trend for portraying superheroes not as the [[TheCape whiter-than-whitebread heroes of pure moral standing]] that had been the common default prior to these works, but as neurotic, tormented and at times borderline-fascistic {{Anti Hero}}es whose violent methods masked a whole range of psychological and sexual issues. They also achieved widespread mainstream attention, and acclaim within intellectual circles, something unheard in the industry before. This in effect briefly turned comics into the "hip" and "rebellious" medium.

to:

TheDarkAgeOfComicBooks was the culmination of a gradual move towards an older audience for {{Comic Book}}s, particularly those featuring superheroes, that had started in TheBronzeAgeOfComicBooks. It's sometimes also called TheIronAgeOfComicBooks, to follow the Gold/Silver/Bronze progression, but Dark Age is the much more common term. Usually characterized as a DarkerAndEdgier period featuring an increased focus on sex, violence and dark, gritty portrayals of the characters involved, much of the content produced during this era is very controversial among comic book fans and is usually (depending on who you ask) considered either a welcome breath of fresh air after the medium languishing so long in its own version of the AnimationAgeGhetto, or a period of grotesque excess and immaturity...[[TakeAThirdOption or both.]]

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[[BrokenBase Opinion is divided]] on when – or even ''if'' – the Dark Age ended. Earliest estimates put it in the mid-to-late 1990s. In 1995, the critically acclaimed ''AstroCity'', a [[{{Reconstruction}} love letter]] to super-heroes of the Silver Age Style debuted. 1996 saw the publishing of ''ComicBook/KingdomCome'', a {{Deconstruction}} of [[DarkerAndEdgier the direction comics had been going in for the past ten years]]. 1996 also saw the end of ''Comicbook/TheSandman'', ValiantComics being bought out, and TheGreatComicsCrashOf1996. It's also worth noting that DC's CrisisCrossover for 1996 was ''FinalNight'', which undid [[Comicbook/GreenLantern Hal Jordan's]] FaceHeelTurn through his HeroicSacrifice to re-ignite the sun. 1997 saw Creator/GrantMorrison's celebrated run on JLA, which did more to [[{{Reconstruction}} Reconstruct]] the main DCU than anything else. 1997 was also when Marvel filed for bankruptcy (See TheGreatComicsCrashOf1996 for more details). The late 90s saw WarrenEllis gaining prominence with works such as ''{{Transmetropolitan}}'' (1997) and ''{{Planetary}}'' (1999), as well as DC's acquisition of Wildstorm, and is thus often tied into TheModernAgeOfComicBooks. Later estimates put it at the turn of the millennium, with the introduction of UltimateMarvel via ''Ultimate Spider-Man'' (2000), offering a fresh take on the Marvel Universe unfettered by decades of continuity and modernized takes on old stories and characters. Still others argue that whilst the excesses of the Dark Age have by-and-large disappeared, comics today are nevertheless still notably dominated by a DarkerAndEdgier mindset which indicates that it might be around for a while.

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[[BrokenBase Opinion is divided]] on when – or even ''if'' – the Dark Age ended. Earliest estimates put it in the mid-to-late 1990s. In 1995, the critically acclaimed ''AstroCity'', a [[{{Reconstruction}} love letter]] to super-heroes of the Silver Age Style debuted. 1996 saw the publishing of ''ComicBook/KingdomCome'', a {{Deconstruction}} of [[DarkerAndEdgier the direction comics had been going in for the past ten years]]. 1996 also saw the end of ''Comicbook/TheSandman'', ValiantComics being bought out, and TheGreatComicsCrashOf1996. It's also worth noting that DC's CrisisCrossover for 1996 was ''FinalNight'', which undid [[Comicbook/GreenLantern Hal Jordan's]] FaceHeelTurn through his HeroicSacrifice to re-ignite the sun. 1997 saw Creator/GrantMorrison's celebrated run on JLA, which did more to [[{{Reconstruction}} Reconstruct]] the main DCU than anything else. 1997 was also when Marvel filed for bankruptcy (See TheGreatComicsCrashOf1996 for more details). The late 90s saw WarrenEllis gaining prominence with works such as ''{{Transmetropolitan}}'' (1997) and ''{{Planetary}}'' (1999), as well as DC's acquisition of Wildstorm, and is thus often tied into TheModernAgeOfComicBooks. Later estimates put it at the turn of the millennium, with the introduction of UltimateMarvel via ''Ultimate Spider-Man'' (2000), offering a fresh take on the Marvel Universe unfettered by decades of continuity and modernized takes on old stories and characters. Still others argue that while the excesses of the Dark Age have by-and-large disappeared, comics today are nevertheless still notably dominated by a DarkerAndEdgier mindset which indicates that it might be around for a while.

23rd Mar '13 4:28:53 PM Soufriere

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The portrayal of women -- rarely at its most mature to begin with in this genre -- plunged to ever more absurd depths, at times bordering on outright misogyny (Except for ''WonderWoman'' under GeorgePerez who created one of the character's best ever periods). For example, during the Dark Age an entire sub-genre of "Bad Girls" comics started to appear, featuring female characters (usually [[TheVamp Witches, Demons, Vampires, etc]]) in highly {{Stripperific}} outfits in Supernaturally themed, borderline pornographic storylines. An early TropeCodifier for this was ''LadyDeath''. There was a time when this kind of material made up 90% of the material produced by Creator/AvatarPress. The "Bad Girls" genre has more or less died out, however some series like this (most notably ''ComicBook/TarotWitchOfTheBlackRose'') are still around.

An overly dark, cynical tone appeared even in works for which such a tone was unsuitable. While not always a {{deconstruction}} of TheSilverAgeOfComicBooks, it was certainly a [[StopHavingFunGuys deliberate opposition]], and although touted as being more adult and mature, in too many cases the works produced during the age were no more sophisticated than or superior to earlier, 'immature' works -- merely nastier.

Big Events and {{Crisis Crossover}}s were also immensely common by this point, with events such as Comicbook/{{Superman}} [[TheDeathOfSuperman dying and being replaced by feuding alternatives]], Comicbook/{{Batman}} [[{{Knightfall}} having his back broken and]] [[AntiHeroSubstitute replaced by a considerably more psychotic]] [[{{Azrael}} individual]], the SilverAge Comicbook/GreenLantern [[ZeroHour turning evil]] and Comicbook/{{Spider-Man}} [[TheCloneSaga being replaced by a clone]][[hottip:*: (or going around like [[http://images2.wikia.nocookie.net/__cb20080901193720/marveldatabase/images/6/6b/Spider-Man_Vol_1_20.jpg this)]]. Even WonderWoman and the {{Flash}} were briefly replaced by darker doppelgangers, and Comicbook/{{Aquaman}} lost a hand and [[GrowingTheBeard grew a beard]]. However, many of these events were poorly received by fans, who didn't appreciate their favourite characters being altered beyond recognition, and the constant crossovers tended to interrupt the flow of stories in individual titles (thus making a jumbled mess of ongoing storylines), requiring readers to purchase numerous different books -- including titles they may not particularly like or usually read -- in order to follow the narrative.

[[BrokenBase Opinion is divided]] on when -- or even if -- the Dark Age ended. Earliest estimates put it in the mid-to-late 1990s. In 1995, the critically acclaimed ''AstroCity'', a [[{{Reconstruction}} love letter]] to super-heroes of the Silver Age Style debuted. 1996 saw the publishing of ''ComicBook/KingdomCome'', a {{Deconstruction}} of [[DarkerAndEdgier the direction comics had been going in for the past ten years]]. 1996 also saw the end of ''Comicbook/TheSandman'', ValiantComics being bought out, and TheGreatComicsCrashOf1996. It's also worth noting that DC's CrisisCrossover for 1996 was ''FinalNight'', which undid [[Comicbook/GreenLantern Hal Jordan's]] FaceHeelTurn through his HeroicSacrifice to re-ignite the sun. 1997 saw Creator/GrantMorrison's celebrated run on JLA, which did more to [[{{Reconstruction}} Reconstruct]] the main DCU than anything else. 1997 was also when Marvel filed for bankruptcy (See TheGreatComicsCrashOf1996 for more details). The late 90s saw WarrenEllis gaining prominence with works such as ''{{Transmetropolitan}}'' (1997) and ''{{Planetary}}'' (1999), as well as DC's acquisition of Wildstorm, and is thus often tied into TheModernAgeOfComicBooks. Later estimates put it at the turn of the millennium, with the introduction of UltimateMarvel via ''Ultimate Spider-Man'' (2000), offering a fresh take on the Marvel Universe unfettered by decades of continuity and modernized takes on old stories and characters. Still others argue that whilst the excesses of the Dark Age have by-and-large disappeared, comics today are nevertheless still notably dominated by a DarkerAndEdgier mindset which indicates that it might be around for a while.

As for the men who arguably started it all, at least one later appeared less-than-impressed by what followed. Moore became one of the era's most outspoken critics, revamping ''{{Supreme}}'' -- originally a standard grimdark Superman clone -- into an in-depth exploration of the Superman myth and what made it work, and many of his works for his America's Best Comics line, such as ''TomStrong'', display a notable LighterAndSofter tone in order to balance the extremes of this era. The other, Miller, seems to be more on the fence, with his later works, including ''TheDarkKnightStrikesAgain'' and ''ComicBook/AllStarBatmanAndRobinTheBoyWonder'' either [[SelfDeprecation openly making fun of his own earlier work]] or providing a terrible example of its worst excesses, depending on who you talk to.

to:

The portrayal of women – rarely at its most mature to begin with in this genre – plunged to ever more absurd depths, at times bordering on outright misogyny (Except for ''WonderWoman'' under GeorgePerez who created one of the character's best ever periods). For example, during the Dark Age an entire sub-genre of "Bad Girls" comics started to appear, featuring female characters (usually [[TheVamp Witches, Demons, Vampires, etc]]) in highly {{Stripperific}} outfits in Supernaturally themed, borderline pornographic storylines. An early TropeCodifier for this was ''LadyDeath''. There was a time when this kind of material made up 90% of the material produced by Creator/AvatarPress. The "Bad Girls" genre has more or less died out, however some series like this (most notably ''ComicBook/TarotWitchOfTheBlackRose'') are still around.

Big Events and {{Crisis Crossover}}s were also immensely common by this point, with events such as Comicbook/{{Superman}} [[TheDeathOfSuperman dying and being replaced by feuding alternatives]], Comicbook/{{Batman}} [[{{Knightfall}} having his back broken and]] [[AntiHeroSubstitute replaced by a considerably more psychotic]] [[{{Azrael}} individual]], the SilverAge Comicbook/GreenLantern [[ZeroHour turning evil]] and Comicbook/{{Spider-Man}} [[TheCloneSaga being replaced by a clone]][[note]] or going around like [[http://images2.wikia.nocookie.net/__cb20080901193720/marveldatabase/images/6/6b/Spider-Man_Vol_1_20.jpg this.]][[/note]] Even WonderWoman and the {{Flash}} were briefly replaced by darker doppelgangers, and Comicbook/{{Aquaman}} lost a hand and [[GrowingTheBeard grew a beard]]. However, many of these events were poorly received by fans, who didn't appreciate their favourite characters being altered beyond recognition, and the constant crossovers tended to interrupt the flow of stories in individual titles (thus making a jumbled mess of ongoing storylines), requiring readers to purchase numerous different books – including titles they may not particularly like or usually read – in order to follow the narrative.

As for the men who arguably started it all, at least one later appeared less-than-impressed by what followed. Moore became one of the era's most outspoken critics, revamping ''{{Supreme}}'' – originally a standard grimdark Superman clone – into an in-depth exploration of the Superman myth and what made it work, and many of his works for his America's Best Comics line, such as ''TomStrong'', display a notable LighterAndSofter tone in order to balance the extremes of this era. The other, Miller, seems to be more on the fence, with his later works, including ''TheDarkKnightStrikesAgain'' and ''ComicBook/AllStarBatmanAndRobinTheBoyWonder'' either [[SelfDeprecation openly making fun of his own earlier work]] or providing a terrible example of its worst excesses, depending on who you talk to.

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1st Mar '13 11:29:32 AM BackLash

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19th Feb '13 9:34:50 PM nombretomado

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