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[[quoteright:348:[[Comicbook/{{Cable}} http://static.tvtropes.org/pmwiki/pub/images/New_Mutants_87_1714.jpg]]]]
[[caption-width-right:348:[[NinetiesAntiHero Trendsetter coming through]].]]

->''"1993 was the year [[TheDeathOfSuperman Superman died]] and ComicBook/{{Venom}} got his own series. Just keep that in mind."''
-->--Marvel Year In Review, 1993.

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.]]

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 Creator/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.

1986 also saw the wholesale [[{{Retcon}} rewriting]] of Franchise/TheDCU [[PostCrisis following]] ''ComicBook/CrisisOnInfiniteEarths'', which would itself be incredibly influential on what followed for numerous reasons. Firstly, it was the first CrisisCrossover (while ComicBook/SecretWars was published first, it was only in response to Crisis which was already on the planning table, and led Marvel to panic and rush it out before Crisis), and its success paved the way for more Big Events over the decade. Secondly, the reboot itself was important in setting the overall tone of the comics that would follow and, as editors began to pick and choose what stayed and what was discarded, it seemed increasingly clear that more of the LighterAndSofter elements were [[ShooOutTheClowns being removed]] as comics were beginning to cater to a more mature audience.

In order to draw in more adult readers while still keeping their main universes at least nominally family-friendly, the main publishers began to set up and use "imprints", sub-publications of a company that specialized in specific content for people with certain interests. One of the most successful imprints was [[Creator/DCComics DC's]] VertigoComics, which specialized in a [[{{Revision}} re-imagining]] of obscure characters from Franchise/TheDCU in DarkerAndEdgier contexts.

Also around this time, creator-owned companies such as Creator/DarkHorseComics (founded in 1986) and ValiantComics (founded in 1989) began to gain prominence following disputes between creatives and [[ExecutiveMeddling executives]] over issues such as creators' rights and the restrictions of UsefulNotes/TheComicsCode, the influence of which was steadily weakening. Like the imprints of the main publishers, these smaller companies often specialised in material aimed at more adult readers than previously, and which continued the process of deconstructing established tropes of the superhero genre. Dark Horse, founded in 1986 by Mike Richardson out of his chain of comic shops of the same name, still exists to this day, and is well known for being versatile. It published such critically acclaimed creator owned series as ''ComicBook/{{Hellboy}}'' and ''SinCity'', as well as licensed works, such as comics set in the Franchise/StarWarsExpandedUniverse, and was even an early source for translated Manga (itself a growing cultural force) such as ''Manga/{{Akira}}''. Valiant was founded in 1989 by former Creator/MarvelComics Editor in chief JimShooter. In 1986, Shooter spearheaded the short lived ComicBook/TheNewUniverse imprint, with the idea of creating a new "more realistic" approach to traditional superhero tropes. Its failure inspired him to leave and try the same thing again with a new company. Valiant attempted to create a hard SciFi superhero universe without ComicBookTime, with events happening in the same time frame as the publication schedule. Valiant achieved a lot of early success, briefly becoming a legitimate competitor to the Big Two, and producing such critically acclaimed works as ''Harbinger'' and ''SolarManOfTheAtom'', and still has a [[CultClassic small, but devoted]] following of fans.

While the groundwork had been laid during the eighties, the Dark Age reached its peak in the early [[TheNineties 90s]], the same period that spawned ''MortalKombat'' and {{Grunge}} rock. No, this is not a coincidence; all had their roots in the same jaded, cynical, Gen X attitude that was common at the time. In fact a key figure of the Dark Age, RobLiefeld, was even the same age as [[{{Nirvana}} Kurt Cobain]] (both being born in 1967).

Liefeld, one of the most popular creators of the time, influenced the Age in three main ways. Firstly, the characters he devised acted as central {{Trope Codifier}}s for the NinetiesAntiHero, the primary character archetype of the period. The character of Cable, introduced by Liefeld as leader of Marvel's ComicBook/XMen SpinOff ''[[ComicBook/NewMutants The New Mutants]]'', was a particularly important one; although initially a villain, his character was used to fill an editorial mandate calling for a [[{{Badass}} "man of action"]] to act as a foil to Xavier's more gentle style of leadership. Secondly, Liefeld's artwork -- dark, gritty and angular -- was perfect for the darker tone of comic books of the day, and began to be widely imitated -- to the extent that even his flaws were emulated by other artists.

The third influence Liefeld had was through ImageComics, a key source of some of the Age's most influential content, founded in 1992 following a dispute between seven of Marvel's top artists (including Liefeld) over creator's rights. Image, founded on the principles that [[ProtectionFromEditors creators were entirely in control of their own product]], were entirely free of the Comics Code and with some of the most popular creators of the time on board, they became known for two things: comics that relied heavily on sex and violence, and comics that sold like wildfire. Naturally, the success of Image prompted the other companies to sit up, take notice, and try their hardest to catch the same lightning.

Marvel was also actively trying out new concepts and characters, giving them their own series, including ''TheNewWarriors, {{Sleepwalker}}, {{Darkhawk}}'', and ''{{Thunderstrike}}''. Sadly, all of these titles would eventually be canceled, although they all had their own merits and cult followings.

The resulting material has been hotly contested by fans with regards to its quality. Certainly, the age produced a lot of widely-acclaimed and notable works, both affiliated with the mainstream universes and the independents -- such as ''TheMaxx'', Creator/NeilGaiman's ''Comicbook/TheSandman'', Creator/GrantMorrison's runs on ''Comicbook/DoomPatrol'' and ''Comicbook/AnimalMan'', Todd [=McFarlane=]'s ''Comicbook/{{Spawn}}'', and Erik Larsen's ''TheSavageDragon''. At their best, creators were using the new lack of constraints to transcend the old limitations and develop stories that were interesting, imaginative, complex and mature, embracing the possibilities of the medium and going beyond the traditional literature in the process. Many genuine classics have their origins in the moods and tones of the era.

However, at the other end of the scale, a number of critics argue that in many cases "mature" content was actually closer to "adolescent"; while creators were taking inspiration from ''Comicbook/TheDarkKnightReturns'' and ''Comicbook/{{Watchmen}}'', many had completely missed the point, focusing [[MisaimedFandom merely on the surface details]] in order to FollowTheLeader without coupling them with the depth of narrative and the thematic and psychological complexity that had made these works unique and well received. Complaints center around a crowd of [[NinetiesAntiHero deeply disturbed and unpleasant 'heroes']] who were quite frequently little more than psychotic thugs cut from the same template.

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 ''ComicBook/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 (this is Alan Moore's big complaint about the era).

Big Events and {{Crisis Crossover}}s were also immensely common by this point, with events such as Franchise/{{Superman}} [[TheDeathOfSuperman dying and being replaced by feuding alternatives]], Franchise/{{Batman}} [[ComicBook/{{Knightfall}} having his back broken and]] [[AntiHeroSubstitute replaced by a considerably more psychotic]] [[{{Azrael}} individual]], the SilverAge Comicbook/GreenLantern [[ComicBook/ZeroHour turning evil]] and Comicbook/{{Spider-Man}} [[ComicBook/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 Franchise/WonderWoman and ComicBook/TheFlash 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 ''ComicBook/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.

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 [[Series/{{Batman}} Adam West TV show]]. ''Batman'' was followed by the even darker ''Film/BatmanReturns'' (1992). [[Film/BatmanForever The following]] [[Film/BatmanAndRobin films]] were relatively LighterAndSofter, but the series returned to a darker mood with the reboot ''Film/BatmanBegins'' (2005) and [[Film/TheDarkKnightSaga its sequels,]] ''Film/TheDarkKnight'' (2008) and ''Film/TheDarkKnightRises'' (2012). ''Film/{{Blade}}'' (1998) and ''[[Film/XMen 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 Creator/AlanMoore's ''Film/{{Watchmen}}'' came in 2009. The latest ''Franchise/{{Superman}}'' movies have also reflected the trend: 2006's ''Film/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 2013's ''Film/ManOfSteel'' was a ContinuityReboot eschewing camp for a more serious and [[{{Deconstruction}} deconstructive]] 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/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''.

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. This divergence was reflected even in more mainstream fare like ComicBook/CaptainAmerica in the 1980s and Franchise/{{Batman}} in the 1990s when they were each replaced by DarkerAndEdgier AntiHeroSubstitute imitators who sneer at the original's "old fashioned" values. However, the upstarts learn that while they have emulated the surface trappings of the iconic originals, they ultimately cannot match their true might combined with the heroic ideals and principles that Steve Rogers and Bruce Wayne have in their spirits to make the superheroes legends, as evidenced when the originals take back their callings with irresistible force.

See also NinetiesAntiHero and DarkAgeOfSupernames. Do not confuse with DorkAge (although, in the minds of [[BrokenBase some fans]], a lot of material produced in this era belongs there as well). See TheGreatComicsCrashOf1996 for what was happening during this Age outside of the content.

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!!Notable series & Events of the DarkAge:

* ''Comicbook/{{Hellboy}}'' Debuted in 1994. [[LegionsOfHell A demon]] [[TheEndOfTheWorldAsWeKnowIt who is destined to bring about the apocalypse]] fights Nazis and Lovecraftian abominations with [[{{BFG}} a huge gun]] and the title character himself is a huge mass of psychological issues. The premise itself is very DarkAge, but the series actually isn't supremely dark. Hellboy is shown to give very good advice, enjoys pancakes, and adores kittens.
* ComicBook/{{Venom}} went from being an evil version of Spider-Man, to an AntiHero, to a NinetiesAntiHero with his own book, before his symbiote split and bonded to an AxeCrazy SerialKiller, creating Carnage, an evil(er) version of Venom.
* ''Comicbook/{{Spawn}}'' (The scion of Creator/ImageComics and the model for its many imitators)
* TheMaxx came out of this era, and while the series was published by Creator/ImageComics and the titular character may look the part, the series itself is far stranger, more metaphorical, and a good deal smarter than the other stuff that came out around this time. Thus it receives a far better reputation than many of its contemporaries nowadays.
* ''ComicBook/TheDeathOfSuperman'', one of the "big events" of the Dark Age (which was conceived to delay Superman and Lois' marriage in order to coincide with the then-current ''LoisAndClark'' series.) The character's inevitable return introduced four characters who attempted to replace him, each being a pastiche of a Dark Age trend.
* ''Comicbook/{{Watchmen}}'' (Along with ''Comicbook/TheDarkKnightReturns'', one of the kickoff series of the Age)
* ''ThePunisher'' (This pre-existing ultra-violent AntiHero VigilanteMan's stock went way, way up)
* ''Franchise/{{Batman}}: [[ComicBook/BatmanYearOne Year One]]'' (Went hand-in-hand with ''Comicbook/BatmanTheDarkKnightReturns'' in defining Frank Miller's vision of the Caped Crusader)
** Other notable Dark Age ''Franchise/{{Batman}}'' stories include ''ComicBook/TheKillingJoke'', ''ComicBook/ADeathInTheFamily'', and ''ComicBook/{{Knightfall}}''. The first modern [[Film/{{Batman}} Batman movie]] also came out during this era.
* ''ComicBook/{{Wolverine}}'', like the Punisher and Batman, was a preexisting hero who attained new heights of popularity because he fit the grim and gritty trend; his regular series began in 1988, and WolverinePublicity spread like Kudzu.
* The one-off ''Comicbook/{{Doom}}'' [[http://www.youtube.com/watch?v=A8yc5bnOrSc comic]] wasn't exactly ''notable'', but it perfectly illustrates the excesses of the age.
** Bonus points: "There's nothing wrong with you I can't fix with my hands" is directly ripped from ''Comicbook/BatmanTheDarkKnightReturns''.
* {{Lobo}}, though a character and not a series, was created as a parody of [[NinetiesAntiHero this kind of hero]], and quickly [[MisaimedFandom gained popularity]] ''[[MisaimedFandom as]]'' [[MisaimedFandom one]].
* ''ComicBook/MarshalLaw'' was also a parody of this era's excesses, although it actually started [[UnbuiltTrope before the main era]].
* ''Comicbook/{{Witchblade}}'', one of the few long-lasting books of that time period, which spawned a TV show, anime, and manga, with an upcoming movie.
* ''Comicbook/JudgeDredd'' was another example of Misaimed Fandom on a pre-existing character. Unfortunately, the US fans and Hollywood [[PoesLaw misinterpreted]] what was blatant to the original 2000 AD readers: that Dredd was a rare satirical character played straight instead of for humor.
* ''Comicbook/{{Supreme}}'' started out as a straight example about "What if Superman was a huge jerk", but when Alan Moore came on, this trend was parodied with "Grim 80s Supreme" as one of the previous incarnations living in the Supremacy. Later they would introduce his archenemy Grim 80s Demented Tittering Transvestite Serial Killer Darius Dax (Dax is normally Lex Luthor with hair, so you can tell how big a stretch that characterization is) and Grim 80s Traumatized Diana Dane.
** The Malibu Comics flagship title ''Prime'' was created with the same purpose in mind, and also ended up being a deconstruction of the era once that company folded and sold all their assets to Marvel.
* ''Comicbook/DeathMate'', the crossover that is often blamed for [[TheGreatComicsCrashOf1996 the comics crash.]]
* ''Comicbook/BodyBags'', Which like the above mentioned Doom Comic is notable only because it perfectly illustrates the excesses of the age. An indie comic about an estranged father/daughter assassin team, and how they grow to tolerate one another. The story ''starts'' with people getting ventilated and Clownface (the father) sticking a knife into the abdomen of a pregnant crackhead and ''[[BlackComedy joking about it]]'', and goes from there. Oh, and the daughter, Panda, is a fourteen year old with [[MostCommonSuperpower unusually large breasts]], constantly wears a cheerleader uniform, and spends most of each issue [[MsFanservice bent over or spread-eagled]].
* ''ComicBook/ZeroHour'': A 1994 CrisisCrossover from Creator/DCComics. Relatively tame by this page's standards, it was nonetheless about a SilverAge hero's descent into madness, forcing his friends to fight and apparently kill him. Also featured the deaths of many surviving GoldenAge JusticeSocietyOfAmerica characters in a brutally quick and dismissive fashion.
* ''Comicbook/TheSandman'' Began in 1989, ended in 1996. One of the most successful and critically acclaimed comic series of TheNineties.
* ''TransformersGeneration2'' actually took this time in its stride, further deepening the series mythos and taking full advantage of AnyoneCanDie. It mostly failed due to the unrealistic sales expectations being placed upon the series. (It actually sold ''better'' than some titles that are considered quite successful.)
* ''Comicbook/{{Starman}}'', which started out as a spinoff of ''ComicBook/ZeroHour'' but surpassed its originator in terms of quality. A thorough exploration of the LegacyCharacter concept that delved into DC's rich history like few comics before it and helped lead the way to the ModernAge.
* Perhaps the best remembered CrisisCrossover of TheNineties, the ''ComicBook/AgeOfApocalypse'' event which had all X-Men comics put on hold for several months so as to explore a dystopian alternate timeline where the X-Men never existed.
** Possibly a {{Deconstruction}}, because the world fared [[ApocalypseHow exactly as well]] as you'd expect it to do under the rule of a superpowered psychopath. Also, [=AoA=] ''did'' make the difference between heroes and villains pretty clear.
* ''Comicbook/TheCrow'', first published in 1989, is about a brooding pretty boy goth who comes back from the dead to take revenge on the gang that murdered him and his girlfriend by killing them in brutal and symbolic ways. It spawned [[TheCrowStairwayToHeaven a TV Show]] and [[Franchise/TheCrow a few movies]], briefly becoming a Gothic icon.
* ComicBook/TheDarkness, about a mafia hitman with demonic powers - it's in the name
* XForce, the ComicBook/XMen spin off that gave the world Cable, Deadpool, and, for better or worse, launched the career of RobLiefeld.
* [[ComicBook/DeathsHead Death's Head II]], a sequel InNameOnly to Marvel UK's ComicBook/DeathsHead. At his peak, he was [[WolverinePublicity as popular in the UK as Wolverine was in the US]].
* {{Darkhawk}} seemingly had his cake and ate it too. He looked dark and brooding and had a cool name that didn't really match the character (he had a dark costume but there was no hawk motiff). Despite that, he was a pretty normal teenager that wasn't very violent.
* Similar to the IncredibleHulk example above, The Power of ComicBook/{{Shazam}} subverted this, keeping an optimistic approach in the Dark Age.
* Joe Martin did a DeconstructiveParody of this in the one-shot comic book, ''Boffo in Hell'', starring the two main characters from his newspaper comic strip, ''MisterBoffo'' (although everyone and everything ''except'' these two were drawn in a more-realistic, superhero style); the title was a reference to ''{{Spawn}}''. In it, the government suspects that people are mean and violent because of self-esteem issues. As an experiment, they take [[NinetiesAntiHero a bunch of psychotics]], [[TooDumbToLive give them a bunch of super-powers so that they'll feel "special"]] and then have them do community service among the public. Needless to say, it doesn't go as they planned. Earl Boffo, the dim-witted title character, winds up [[CrouchingMoronHiddenBadass gaining super-powers of his own (with a Spawn-like appearance to match) and - completely by accident - manages to subdue and kill the murderous anti-heroes]].
* Believe it or not, the Goddamned TeenageMutantNinjaTurtles were originally intended to be a parody of this era of comic books. Splinter's name is a reference to Stick, and the Foot Clan were based on the Hand. And the original versions' origin hints that the accident with the spilled chemicals that mutated the turtles was the same accident that [[ComicBook/{{Daredevil}} blinded a certain young man]]..
* Archie Comics' ''Comicbook/SonicTheHedgehog'' started in 1993, the height of this era. Early issues even took time to parody the excesses of the period. Ironically, the comic dove into its own Dark Age at the same time mainstream comics were finally lightening up, even doing a crossover with Creator/ImageComics.
** Fleetway's ''SonicTheComic'' also began here.
* The Argentine comic book ''ComicBook/{{Cazador}}''
* ''ComicBook/MalibuComicsStreetFighter'' debuted in this era and by the 2nd issue [[spoiler:killed off Ken Masters]]. Not surprisingly, the book was cancelled after the 3rd issue.

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Usually accepted as beginning with the publishing of ''ComicBook/{{Watchmen}}'' and ''ComicBook/TheDarkKnightReturns''. Alternatively described as lasting until either the publishing of ''ComicBook/KingdomCome'' (1986-1996) or the publishing of ''ComicBook/UltimateSpiderMan #1'' (1986-2000), in which case it's followed by TheModernAgeOfComicBooks.

However, some think [[TheIronAgeOfComicBooks this age is still ongoing]] (1986-present).

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