|Parent company||DC Entertainment|
|Founded||June 25, 1934 (as National Allied Publications)|
|Country of origin||United States|
|Headquarters location||2900 West Alameda Avenue, Burbank, California|
|Distribution||Penguin Random House Publisher Services, Diamond Comic Distributors|
|Publication types||List of publications|
|Imprints||List of imprints|
DC Comics, Inc. is an American comic book publisher. It is the publishing unit of DC Entertainment, a subsidiary of Warner Bros. Global Brands and Experiences. DC Comics is one of the largest and oldest American comic book companies. The majority of its publications take place within the fictional DC Universe and feature numerous culturally iconic heroic characters, most notably Superman, Batman and Wonder Woman, among many others. The universe also features well-known supervillains such as Lex Luthor, the Joker, Catwoman, and the Penguin. The company has published non-DC Universe-related material, including Watchmen, V for Vendetta, Fables and many titles under their alternative imprint Vertigo.
The initials "DC" came from the company's popular series Detective Comics, which featured Batman's debut and subsequently became part of the company's name. 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, however DC Entertainment relocated its headquarters from New York to Burbank, California in April 2015.
Random House distributes DC Comics' books to the bookstore market, while Diamond Comic Distributors supplies the comics shop specialty market. DC Comics and its longtime major competitor Marvel Comics (acquired in 2009 by The Walt Disney Company, WarnerMedia'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.
- 1 History
- 2 DC Entertainment
- 3 Logo
- 4 Imprints
- 5 DC Universe
- 6 Films
- 7 Digital distribution
- 8 See also
- 9 Notes
- 10 Citations
- 11 Sources
- 12 External links
Entrepreneur Major Malcolm Wheeler-Nicholson founded National Allied Publications in autumn 1934. The company debuted with the tabloid-sized New Fun: The Big Comic Magazine #1 with a cover date of February 1935. The company's second title, New Comics #1 (Dec. 1935), appeared in a size close to what would become comic books' standard during the period fans and historians call the Golden Age of Comic Books, with slightly larger dimensions than today's. That title evolved into Adventure Comics, which continued through issue #503 in 1983, becoming one of the longest-running comic-book series. In 2009 DC revived Adventure Comics with its original numbering. In 1935, Jerry Siegel and Joe Shuster, the future creators of Superman, created Doctor Occult, who is the earliest DC Comics character to still be in the DC Universe.
Wheeler-Nicholson's third and final title, Detective Comics, advertised with a cover illustration dated December 1936, eventually premiered three months late with a March 1937 cover date. The themed anthology series would become a sensation with the introduction of Batman in issue #27 (May 1939). By then, however, Wheeler-Nicholson had gone. In 1937, in debt to printing-plant owner and magazine distributor Harry Donenfeld—who also published pulp magazines and operated as a principal in the magazine distributorship Independent News—Wheeler-Nicholson had to take Donenfeld on as a partner in order to publish Detective Comics #1. Detective Comics, Inc. was formed, with Wheeler-Nicholson and Jack S. Liebowitz, Donenfeld's accountant, listed as owners. Major Wheeler-Nicholson remained for a year, but cash-flow problems continued, and he was forced out. Shortly afterwards, Detective Comics, Inc. purchased the remains of National Allied, also known as Nicholson Publishing, at a bankruptcy auction.
Detective Comics, Inc. soon launched a fourth title, Action Comics, the premiere of which introduced Superman. Action Comics #1 (June 1938), the first comic book to feature the new character archetype—soon known as "superheroes"—proved a sales hit. The company quickly introduced such other popular characters as the Sandman and Batman.
On February 22, 2010, a copy of Action Comics #1 (June 1938) sold at an auction from an anonymous seller to an anonymous buyer for $1 million, besting the $317,000 record for a comic book set by a different copy, in lesser condition, the previous year.
National Allied Publications soon merged with Detective Comics, Inc., forming National Comics Publications on September 30, 1946. National Comics Publications absorbed an affiliated concern, Max Gaines' and Liebowitz' All-American Publications. In the same year Gaines let Liebowitz buy him out, and kept only Picture Stories from the Bible as the foundation of his own new company, EC Comics. At that point, "Liebowitz promptly orchestrated the merger of All-American and Detective Comics into National Comics... Next he took charge of organizing National Comics, [the self-distributorship] Independent News, and their affiliated firms into a single corporate entity, National Periodical Publications". National Periodical Publications became publicly traded on the stock market in 1961.
Despite the official names "National Comics" and "National Periodical Publications", the company began branding itself as "Superman-DC" as early as 1940, and the company became known colloquially as DC Comics for years before the official adoption of that name in 1977.
The company began to move aggressively against what it saw as copyright-violating imitations from other companies, such as Fox Comics' Wonder Man, which (according to court testimony) Fox started as a copy of Superman. This extended to DC suing Fawcett Comics over Captain Marvel, at the time comics' top-selling character (see National Comics Publications, Inc. v. Fawcett Publications, Inc.). Faced with declining sales and the prospect of bankruptcy if it lost, Fawcett capitulated in 1953 and ceased publishing comics. Years later, Fawcett sold the rights for Captain Marvel to DC—which in 1972 revived Captain Marvel in the new title Shazam! featuring artwork by his creator, C. C. Beck. In the meantime, the abandoned trademark had been seized by Marvel Comics in 1967, with the creation of their Captain Marvel, forbidding the DC comic itself to be called that. While Captain Marvel did not recapture his old popularity, he later appeared in a Saturday morning live action TV adaptation and gained a prominent place in the mainstream continuity DC calls the DC Universe.
When the popularity of superheroes faded in the late 1940s the company focused on such genres as science fiction, Westerns, humor, and romance. DC also published crime and horror titles, but relatively tame ones, and thus avoided the mid-1950s backlash against such comics. A handful of the most popular superhero-titles, including Action Comics and Detective Comics, the medium's two longest-running titles, continued publication.
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 #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", 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 #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 would later be 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,[n 1] 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.
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.
Kinney National Company/Warner Communications subsidiary (1967-1990)
In 1967, National Periodical Publications was purchased by Kinney National Company, which purchased Warner Bros.-Seven Arts in 1969. Kinney National spun off its non-entertainment assets in 1972 (as National Kinney Corporation) and changed its name to Warner Communications Inc.
In 1970, Jack Kirby moved from Marvel Comics to DC, at the end of the Silver Age of Comics, in which Kirby's contributions to Marvel played a large, integral role. Given carte blanche to write and illustrate his own stories, he created a handful of thematically linked series he called collectively The Fourth World. In the existing series Superman's Pal Jimmy Olsen and in his own, newly launched series New Gods, Mister Miracle, and The Forever People, Kirby introduced such enduring characters and concepts as archvillain Darkseid and the other-dimensional realm Apokolips. Furthermore, Kirby intended their stories to be later reprinted in collected editions in a publishing format that would later be called the trade paperback, which would become a standard industry practice decades later. While sales were respectable, they did not meet DC management's initially high expectations, and also suffered from a lack of comprehension and internal support from Infantino. By 1973 the "Fourth World" was all cancelled, although Kirby's conceptions would soon become integral to the broadening of the DC Universe. Obligated by his contract, Kirby created other unrelated series for DC, including Kamandi, The Demon, and OMAC, before ultimately returning to Marvel Comics.
The Bronze Age
Following the science-fiction innovations of the Silver Age, the comics of the 1970s and 1980s would become known as the Bronze Age, as fantasy gave way to more naturalistic and sometimes darker themes. Illegal drug use, banned by the Comics Code Authority, explicitly appeared in comics for the first time in Marvel Comics' story "Green Goblin Reborn!" in The Amazing Spider-Man #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 #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. DC had attempted to compete with the now-surging Marvel by dramatically increasing its output and attempting to win the market by flooding it. This included launching series featuring such new characters as Firestorm and Shade, the Changing Man, as well as an increasing array of non-superhero titles, in an attempt to recapture the pre-Wertham days of post-War comicdom. In June 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 story pages 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 lead 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 would shape the DC Universe for the following decades, and separate the timeline of DC publications into pre- and post-"Crisis".
Meanwhile, a parallel update had started in the non-superhero and horror titles. Since early 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.
Time Warner/AOL Time Warner/WarnerMedia unit (1990–present)
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.
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 will first appear in the upcoming digital-first title, Batman '66, based on the 1960s television series and DC2 Multiverse will first appear in Batman: Arkham Origins, a digital-first title based on the video game of the same name.
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.
|Owner||WarnerMedia (a subsidiary of AT&T)|
|Parent||Warner Bros. Global Brands and Experiences|
DC Entertainment, Inc. is a subsidiary of Warner Bros. that manages its comic book units and intellectual property (characters) in other units as they work with other Warner Bros units.
In September 2009, Warner Bros. announced that DC Comics would become a subsidiary of DC Entertainment, Inc., with Diane Nelson, President of Warner Premiere, becoming president of the newly formed holding company and DC Comics President and Publisher Paul Levitz moving to the position of Contributing Editor and Overall Consultant there. Warner Bros. and DC Comics have been owned by the same company since 1969.
On February 18, 2010, DC Entertainment named Jim Lee and Dan DiDio as Co-Publishers of DC Comics, Geoff Johns as Chief Creative Officer, John Rood as EVP (Executive Vice President) of Sales, Marketing and Business Development, and Patrick Caldon as EVP of Finance and Administration.
In October 2013, DC Entertainment announced that the DC Comics offices would be moved from New York City to Warner Bros. Burbank, California, headquarters in 2015. The other units, animation, movie, TV and portfolio planning, had preceded DC Comics by moving there in 2010.
Warner Bros. Pictures reorganized in May 2016 to have genre responsible film executives, thus DC Entertainment franchise films under Warner Bros. were placed under a newly created division, DC Films, created under Warner Bros. executive vice president Jon Berg and DC chief content officer Geoff Johns. This was done in the same vein as Marvel Studios in unifying DC-related filmmaking under a single vision and clarifying the greenlighting process. Johns also kept his existing role at DC Comics. Johns was promoted to DC president & CCO with the addition of his DC Films while still reporting to DCE President Nelson. In August 2016, Amit Desai was promoted from senior vice president, marketing & global franchise management to exec vice president, business and marketing strategy, direct-to-consumer and global franchise management.
With frustration over DC Films not matching Marvel Studios' results and Berg wanting to step back to being a producer in January 2018, it was announced that Warner Bros. executive Walter Hamada was appointed president of DC film production. After a leave of absence starting in March 2018, Diane Nelson resigned as president of DC Entertainment. The company's executive management were to report to WB Chief Digital Officer Thomas Gewecke until a new president is selected. In June 2018, Johns was also moved out of his position as chief creative officer and DC Entertainment president for a writing and producing deal with the DC and WB companies. Jim Lee added DC Entertainment chief creative officer title to his DC co-publisher post. In September 2018, DC became part of the newly-created Warner Bros. Global Brands and Experiences division overseen by President Pam Lifford.
This section may contain an excessive amount of intricate detail that may interest only a particular audience.December 2019) (Learn how and when to remove this template message)(
DC's first logo appeared on the April 1940 issues of its titles. The letters "DC" stood for Detective Comics, the name of Batman's flagship title. 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 would also serve 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 would remain 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 would continue 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.
In July 1987, DC released variant editions of Justice League #3 and The Fury of Firestorm #61 with a new DC logo. It featured a picture of Superman in a circle surrounded by the words "SUPERMAN COMICS". The company released these variants to newsstands in certain markets as a marketing test.
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 #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". The Dark Knight Rises was the first film to use the new logo, while the TV series Arrow was the first series to feature the new logo.
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.
Active as of 2019
- DC (1937–present)
- Mad (1953–present)
- All Star (2005–2008)
- Amalgam Comics (1996–1997; jointly with Marvel Comics)
- DC Focus (2004–2005; merged with main DC line)
- DC Ink (2019)
- DC Zoom (2019)
- Elseworlds (1989–2004)
- First Wave (2010–2011; licensed from Condé Nast Publications and Will Eisner Library)
- Helix (1996–1998; merged with Vertigo)
- Impact Comics (1991–1993; licensed from Archie Comics)
- Johnny DC (2004–2012)
- Minx (2007–2008)
- Paradox Press (1998–2003)
- Piranha Press (1989–1993; renamed Paradox Press)
- Tangent Comics (1997–1998)
- Vertigo (1993–2019)
- WildStorm Productions (1999–2010)
- Zuda Comics (2007–2010)
DC Universe is a video on demand service operated by DC Entertainment. It was announced in April 2017, with the title and service formally announced in May 2018. DC Universe is expected to offer more than video content through the inclusion of an immersive experience with fan interaction that encompasses comics in addition to television.
|Year||Film||Directed by||Written by||Based on||Production by||Budget||Gross|
|2005||Batman Begins||Christopher Nolan||Story by David S. Goyer
Screenplay by Christopher Nolan and David S. Goyer
by Bob Kane with Bill Finger
|Warner Bros. / Legendary Pictures / Patalex III Productions / Syncopy||$150 million||$374.2 million|
|2006||Superman Returns||Bryan Singer||Story by Bryan Singer, Michael Dougherty and Dan Harris
Screenplay by Michael Dougherty and Dan Harris
by Jerry Siegel and Joe Shuster
|Warner Bros. / Legendary Pictures / Bad Hat Harry Productions / Peters Entertainment||$204 million||$391.1 million|
|2008||The Dark Knight||Christopher Nolan||Story by Christopher Nolan and David S. Goyer
Screenplay by Jonathan Nolan and Christopher Nolan
by Bob Kane with Bill Finger
|Warner Bros. / Legendary Pictures / Syncopy||$185 million||$1.005 billion|
|2009||Watchmen||Zack Snyder||David Hayter and Alex Tse||Watchmen
by Alan Moore and Dave Gibbons
|Warner Bros. / Paramount Pictures / Legendary Pictures / Lawrence Gordon Productions||$130 million||$185.3 million|
|2010||Jonah Hex||Jimmy Hayward||Story by Neveldine/Taylor and William Farmer
Screenplay by Neveldine/Taylor
by John Albano and Tony Dezuniga
|Warner Bros. / Legendary Pictures / Weed Road Pictures||$47 million||$10.9 million|
|2011||Green Lantern||Martin Campbell||Story by Greg Berlanti, Michael Green and Marc Guggenheim
Screenplay by Greg Berlanti, Michael Green, Marc Guggenheim and Michael Goldenberg
by John Broome and Gil Kane
|Warner Bros. / De Line Pictures||$200 million||$219.9 million|
|2012||The Dark Knight Rises||Christopher Nolan||Story by Christopher Nolan and David S. Goyer
Screenplay by Jonathan Nolan and Christopher Nolan
by Bob Kane with Bill Finger
|Warner Bros. / Legendary Pictures / Syncopy||$230 million||$1.085 billion|
|2013||Man of Steel||Zack Snyder||Story by Christopher Nolan and David S. Goyer
Screenplay by David S. Goyer
by Jerry Siegel and Joe Shuster
|Warner Bros. / Legendary Pictures / Syncopy||$225 million||$668 million|
|2016||Batman v Superman: Dawn of Justice||Zack Snyder||Chris Terrio and David S. Goyer||Batman
by Bob Kane with Bill Finger
by Jerry Siegel and Joe Shuster
|Warner Bros. / RatPac Entertainment / Atlas Entertainment / Cruel and Unusual Films||$250 million||$873.6 million|
|Suicide Squad||David Ayer||Suicide Squad
by John Ostrander
|Warner Bros. / RatPac Entertainment / Atlas Entertainment||$175 million||$746.8 million|
|2017||The Lego Batman Movie||Chris McKay||Story by Seth Grahame-Smith
Screenplay by Seth Grahame-Smith, Chris McKenna & Erik Sommers, Jared Stern & John Whittington
by Bob Kane with Bill Finger
|Warner Bros. / LEGO System A/S / Warner Animation Group / RatPac Entertainment / Lin Pictures / Lord Miller Productions / Vertigo Entertainment||$80 million||$310.7 million|
|Wonder Woman||Patty Jenkins||Story by Zack Snyder & Allan Heinberg and Jason Fuchs
Screenplay by Allan Heinberg
by William Moulton Marston
|Warner Bros. / RatPac Entertainment / Atlas Entertainment / Cruel and Unusual Films||$150 million||$821.8 million|
|Justice League||Zack Snyder||Story by Chris Terrio & Zack Snyder
Screenplay by Chris Terrio and Joss Whedon
by Gardner Fox
|Warner Bros. / RatPac Entertainment / Atlas Entertainment / Cruel and Unusual Films||$300 million||$657.9 million|
|2018||Teen Titans Go! To the Movies||Aaron Horvath & Peter Rida Michail||Screenplay by Aaron Horvath & Michael Jelenic||Teen Titans
by Bob Haney and Bruno Premiani
Teen Titans Go!
by Aaron Horvath and Michael Jelenic
|Warner Bros. / Warner Bros. Animation||$10 million||$51.9 million|
|Aquaman||James Wan||Story by James Wan and Geoff Johns
Screenplay by Will Beall
|Aquaman by Mort Weisinger and Paul Norris||Warner Bros. / DC Entertainment / Cruel & Unusual Films||$160 million||$1.147 billion|
|2019||Shazam!||David F. Sandberg||Story by Henry Gayden and Darren Lemke
Screenplay by Henry Gayden
|Shazam! by Bill Parker and C. C. Beck||New Line Cinema / DC Entertainment||$80–100 million||$364.1 million|
|Joker||Todd Phillips||Todd Phillips and Scott Silver||Joker by Bill Finger, Bob Kane and Jerry Robinson||Warner Bros. Pictures / Sikelia Productions / Joint Effort / DC Entertainment||$55–70 million||$1.061 billion|
|2020||Birds of Prey||Cathy Yan||Christina Hodson||Birds of Prey by Jordan B. Gorfinkel and Chuck Dixon||Warner Bros. Pictures / DC Films / LuckyChap Entertainment / Kroll & Co. Entertainment / Clubhouse Pictures||Post-production|
|Wonder Woman 1984||Patty Jenkins||Story by Patty Jenkins and Geoff Johns
Screenplay by Patty Jenkins, Geoff Johns and David Callaham
by William Moulton Marston
|Warner Bros. Pictures / Cruel and Unusual Films / Mandy Films / DC Entertainment / Atlas Entertainment / Mad Ghost Productions|
|2021||The Batman||Matt Reeves||Matt Reeves & Mattson Tomlin||Batman
by Bob Kane with Bill Finger
|Warner Bros. Pictures / DC Films||Filming|
|The Suicide Squad||James Gunn||Suicide Squad
by John Ostrander
|Warner Bros. Pictures / DC Films / Atlas Entertainment / The Safran Company|
Critical and public reception
|Batman Begins||84% (278 reviews)||70 (41 reviews)||A|
|Superman Returns||75% (263 reviews)||72 (40 reviews)||B+|
|The Dark Knight||94% (334 reviews)||82 (39 reviews)||A|
|Watchmen||64% (305 reviews)||56 (39 reviews)||B|
|Jonah Hex||12% (149 reviews)||33 (32 reviews)||C+|
|Green Lantern||26% (239 reviews)||39 (39 reviews)||B|
|The Dark Knight Rises||87% (358 reviews)||78 (45 reviews)||A|
|Man of Steel||56% (329 reviews)||55 (47 reviews)||A−|
|Batman v Superman: Dawn of Justice||28% (411 reviews)||44 (51 reviews)||B|
|Suicide Squad||27% (362 reviews)||40 (53 reviews)||B+|
|The Lego Batman Movie||90% (301 reviews)||75 (48 reviews)||A−|
|Wonder Woman||93% (433 reviews)||76 (36 reviews)||A|
|Justice League||40% (377 reviews)||45 (52 reviews)||B+|
|Teen Titans GO! To the Movies||91% (121 reviews)||69 (25 reviews)||B+|
|Aquaman||66% (374 reviews)||55 (49 critics)||A−|
|Shazam!||91% (378 reviews)||71 (52 critics)||A|
|Joker||69% (524 reviews)||59 (58 reviews)||B+|
DC Comics are available in digital form through several sources.
- Batman Day (September 17)
- DC Cosmic Cards
- DC Collectibles
- List of DC Comics characters
- List of comics characters which originated in other media
- List of current DC Comics publications
- List of films based on DC Comics
- List of television series based on DC Comics
- List of video games based on DC Comics
- Publication history of DC Comics crossover events
- List of unproduced DC Comics projects
- DC Films
- Apocryphal legend has it that in 1961, either Jack Liebowitz or Irwin Donenfeld of DC Comics (then known as National Periodical Publications) bragged about DC's success with the Justice League (which had debuted in The Brave and the Bold #28 [February 1960] before going on to its own title) to publisher Martin Goodman (whose holdings included the nascent Marvel Comics, which was being distributed by DC's Independent News at this time.) during a game of golf.
However, film producer and comics historian Michael Uslan partly debunked the story in a letter published in Alter Ego #43 (December 2004), pp. 43–44
Irwin said he never played golf with Goodman, so the story is untrue. I heard this story more than a couple of times while sitting in the lunchroom at DC's 909 Third Avenue and 75 Rockefeller Plaza office as Sol Harrison and [production chief] Jack Adler were schmoozing with some of us ... who worked for DC during our college summers ... [T]he way I heard the story from Sol was that Goodman was playing with one of the heads of Independent News, not DC Comics (though DC owned Independent News) ... As the distributor of DC Comics, this man certainly knew all the sales figures and was in the best position to tell this tidbit to Goodman. ... Of course, Goodman would want to be playing golf with this fellow and be in his good graces ... Sol worked closely with Independent News' top management over the decades and would have gotten this story straight from the horse's mouth.
Goodman, a publishing trend-follower aware of the JLA's strong sales, confirmably directed his comics editor, Stan Lee, to create a comic-book series about a team of superheroes. According to Lee in Origins of Marvel Comics (Simon and Schuster/Fireside Books, 1974), p. 16: "Martin mentioned that he had noticed one of the titles published by National Comics seemed to be selling better than most. It was a book called The [sic] Justice League of America and it was composed of a team of superheroes. ... ' If the Justice League is selling ', spoke he, 'why don't we put out a comic book that features a team of superheroes?'"
- Marx, Barry, Cavalieri, Joey and Hill, Thomas (w), Petruccio, Steven (a), Marx, Barry (ed). "Major Malcolm Wheeler-Nicholson DC Founded" Fifty Who Made DC Great: 5 (1985), DC Comics
- Melrose, Kevin (October 10, 2009). "DC Entertainment – what we know so far". Comic Book Resources. Archived from the original on September 13, 2009. Retrieved September 11, 2009.
- "DC Entertainment Expands Editorial Leadership Team". May 5, 2017. Archived from the original on May 13, 2017. Retrieved May 11, 2017.
- "Official Site". Dccomics.com. April 21, 2010. Archived from the original on September 23, 2017. Retrieved June 17, 2010.
- DC Comics Inc. Archived September 21, 2008, at the Wayback Machine Hoovers. Retrieved October 18, 2008.
- "DC Comics, Random House Ink Distribution Pact". Archived from the original on August 2, 2017. Retrieved July 11, 2017.
- "Welcome to Diamond Comic Distributors' Retailer Services Website!". Archived from the original on June 30, 2017. Retrieved July 11, 2017.
- Miller, John. "2017 Comic Book Sales to Comics Shops". Comichron. Archived from the original on January 23, 2018. Retrieved January 23, 2018.
Share of Overall Units—Marvel 38.30%, DC 33.93%; Share of Overall Dollars—Marvel 36.36%, DC 30.07%
- "Archived copy". Archived from the original on October 10, 2017. Retrieved October 10, 2017.CS1 maint: archived copy as title (link)
- Goulart, Ron (1986). Ron Goulart's Great History of Comics Books. Contemporary Press. p. 55. ISBN 0-8092-5045-4.
- Benton, Mike (1989). The Comic Book in America: An Illustrated History. Dallas, Texas: Taylor Publishing. pp. 17–18. ISBN 978-0-87833-659-3.
- New Fun #1 (Feb. 1935) at the Grand Comics Database. The entry notes that while the logo appears to be simply Fun, the indicia reads, "New FUN is published monthly at 49 West 45th Street, New York, N.Y., by National Allied Publications, Inc.; Malcolm Wheeler-Nicholson, President ... Inquiries concerning advertising should be addressed to the Advertising Manager, New FUN,...."
- Daudt, Ron E. "DC Comics Silver Age Chronology 1934-1955". www.wtv-zone.com. Archived from the original on March 10, 2016. Retrieved February 12, 2016.
- New Comics Archived December 31, 2012, at the Wayback Machine at the Grand Comics Database
- Adventure Comics (DC, 2009 series) Archived October 30, 2012, at the Wayback Machine at the Grand Comics Database
- Jones 2004, p. 125
- "Superman's debut sells for $1M at auction". Crain's New York Business. Associated Press. February 22, 2010. Archived from the original on March 11, 2010.
- In a 1947–1948 lawsuit field by Jerry Siegel and Joe Shuster against National, the presiding judge noted in a findings of facts on April 12, 1948 Archived August 20, 2016, at the Wayback Machine:
"DETECTIVE COMICS, INC. was a corporation duly organized and existing under the laws of the State of New York, and was one of the constituent corporations consolidated on September 30, 1946 into defendant NATIONAL COMICS PUBLICATIONS, INC."
- Jones 2004, p. 223
- "'Superman Faces New Hurdles: Publishers of Comic Books Showing Decline". The New York Times. September 23, 1962. Archived from the original on July 23, 2018. Retrieved July 23, 2018.
It was just a year ago that some rather surprising news was announced to the world about a venerable American institution. The announcement said that Superman had gone public.
- Maggie Thompson, Michael Dean, Brent Frankenhoff, Joyce Greenholdt, John Jackson Miller (editors), Comics Buyer's Guide 1996 Annual, Krause Publications, 1995, p. 81: "Beginning as National Allied Publications in 1935 [sic] and becoming National Allied Newspaper Syndicate the next year, it changed to National Comic [sic] Publications in 1946 and National Periodical Publications in 1961"
- DC Comics, Inc. Archived May 16, 2010, at the Wayback Machine at Bloomberg Businessweek. Retrieved December 18, 2010.
- Integrative Arts 10: "The Silver Age" by Jamie Coville Archived June 24, 2008, at the Wayback Machine. Retrieved June 11, 2008.
- Tucker, Reed (2017). Slugfest: In the Epic 50-Year Battle between Marvel and DC. Da Capo Press. p. xiii.
- Tucker, Reed (2017). Slugfest: Inside the Epic, 50-year Battle between Marvel and DC. Da Capo Press. pp. 11–13.
- Tucker. Slugfest. p. 28.
- Eury, Michael (July 2013). "The Doom Patrol Interviews: Editor's Note". Back Issue!. Raleigh, North Carolina: TwoMorrows Publishing (65): 37.
- Epstein, Daniel Robert (November 11, 2005). "Talking to Arnold Drake". Newsarama. Archived from the original on October 11, 2007. Retrieved May 15, 2009.
- Irving, Christopher (July 20, 2012). "Jim Shooter's Secret Origin, in his Own Words – Part One" Archived August 20, 2018, at the Wayback Machine. Graphic NYC.
- "Irwin Donenfeld, R.I.P." by Mark Evanier, December 1, 2004 Archived May 18, 2008, at the Wayback Machine. Retrieved June 11, 2008.
- Tucker. Slugfest. p. 34.
- "DC Comics". Don Markstein's Toonopedia. November 17, 2011. Retrieved August 10, 2012.
- Kahn, Jenette. "Publishorial: Onward and Upward" Archived March 29, 2014, at the Wayback Machine, DC Comics cover-dated September 1978.
- "The DC Implosion", The Comics Journal #41 (August 1978), pp. 5–7.
- "Post-Implosion Fill-In Fallout", The Comics Journal #43 (December 1978), p. 13.
- Steranko, Jim (February 1975). "Mediascene" (11). p. ?.
Atlas/Seaboard publisher Martin Goodman's David and Goliath strategy is insidiously simple and outrageous—possibly even considered dirty tactics by the competition—[and consists of] such [things] as higher page rates, artwork returned to the artist, rights to the creation of an original character, and a certain amount of professional courtesy.
- Tucker. Slugfest. pp. 112–3.
- "GHM Columns : GHM Staff : Steve Higgins A+ Graphic Novels ]". Newcomicreviews.com. Archived from the original on February 4, 2012. Retrieved March 5, 2019.
- MacDonald, Heidi D. "DC's Titanic Success", The Comics Journal #76 (October 1982), pp. 46–51.
- "Why TEEN TITANS Is DC Comics' Most Important (But Undervalued) Franchise - Nerdist". August 30, 2016. Archived from the original on November 18, 2017. Retrieved July 11, 2017.
- "Vertigo (Publisher) - Comic Vine". Comic Vine. Archived from the original on July 15, 2017. Retrieved July 11, 2017.
- "Batman's Dark Side". March 26, 2016. Archived from the original on April 7, 2017. Retrieved July 11, 2017.
- Arrant, Chris (April 29, 2009). "Completing the Red Circle: Talking to JMS". Newsarama. Archived from the original on December 2, 2013. Retrieved August 15, 2011.
- Markstein, Don. "Archie (MLJ) Comics". Don Markstein's Toonopedia. Archived from the original on April 13, 2013. Retrieved April 18, 2013.
- "JMS Circles the DC Universe in Red" Archived October 8, 2013, at the Wayback Machine. Comic Book Resources. March 26, 2009
- Brady, Matt (August 21, 2006). "Adam Hughes on His New Exclusive & All Star Wonder Woman". Newsarama.com. Archived from the original on August 30, 2006.
- Renaud, Jeffrey (October 30, 2008). "JMS Gets Brave & Bold with Archie Gang". ComicBookResources.com. Archived from the original on July 6, 2013. Retrieved May 23, 2013.
- "20 Answers and 1 Question With Dan DiDio: Holiday Surprise". Newsarama.com. December 24, 2008. Archived from the original on August 29, 2012. Retrieved May 23, 2013.
- Rogers, Vaneta (March 3, 2010). "Brian Azzarello Gets Ready to Break DC's First Wave". Newsarama. Archived from the original on April 7, 2010. Retrieved September 26, 2010.
- Johnston, Rich (February 23, 2011). "First Wave Crashes – DC To Cancel Line". Bleeding Cool. Archived from the original on October 29, 2013. Retrieved May 22, 2013.
- Bondurant, Tom (May 19, 2011). "Grumpy Old Fan Growing the garden: DC's May solicits". Comic Book Resources. Archived from the original on October 29, 2013. Retrieved May 22, 2013.
- Hyde, David (May 31, 2011). "DC Comics Announces Historic Renumber of All Superhero Titles and Landmark Day-and-Date Digital Distribution". DC Comics Blog. DC Comics. Archived from the original on June 28, 2012. Retrieved May 31, 2011.
- Truitt, Brian (May 31, 2011). "DC Comics unleashes a new universe of superhero titles". USA Today. Archived from the original on March 2, 2012. Retrieved June 5, 2011.
- Richards, Ron (June 6, 2011). "The Definitive Guide to the DC Comics Reboot". iFanboy.com. Archived from the original on June 19, 2011. Retrieved June 22, 2011.
- Official Press – DC Entertainment (June 4, 2013). "DC Entertainment Brings Digital Comics To The Net Level With New DC2 and DC2 Multiverse Innovations". Archived from the original on June 8, 2013. Retrieved June 4, 2013.
- "DC's Band-Aid Event? It's Not Blood Moon. It's Called Convergence". Bleeding Cool. October 28, 2014. Archived from the original on October 28, 2014. Retrieved November 12, 2014.
- "New villain, old tales part of DC's 'Convergence'". USA Today. November 3, 2014. Archived from the original on July 22, 2017. Retrieved August 22, 2017.
- "FIRST LOOK: The Complete Convergence". DC Comics. November 6, 2014. Archived from the original on November 9, 2014. Retrieved November 12, 2014.
- "DC's CONVERGENCE Week One: Donna Troy, Oracle, Married Superman, Montoya Question, More". Newsarama.com. November 11, 2014. Archived from the original on November 12, 2014. Retrieved November 12, 2014.
- "DC ENTERTAINMENT REVEALS FIRST DETAILS OF "REBIRTH" TO RETAILERS AT COMICS PRO 2016". February 18, 2016. Archived from the original on April 12, 2018. Retrieved April 11, 2018.
- McMillan, Graeme (September 2016). "DC Comics' 'Rebirth' brings new life — and huge sales — to old superheroes". latimes.com. Archived from the original on April 12, 2018. Retrieved April 11, 2018.
- "How DC Comics Scored Its Biggest Win in Years With 'Rebirth'". Archived from the original on April 12, 2018. Retrieved April 11, 2018.
- "DC Comics' Rebirth worked because it's actually good". Archived from the original on April 12, 2018. Retrieved April 11, 2018.
- "Warner Bros. Creates DC ENTERTAINMENT To Maximize DC Brands". Newsarama. Archived from the original on September 11, 2009. Retrieved September 9, 2009.
- "DC Names DiDio & Lee Co-Publisher, Johns Chief Creative Officer". Comic Book Resources. February 18, 2010. Archived from the original on October 26, 2008. Retrieved June 17, 2010.
- "Warner's DC comic-book unit leaving Gotham". The San Diego Union Tribune. October 29, 2013. Archived from the original on April 24, 2018. Retrieved July 11, 2017.
- Prudom, Laura (April 23, 2015). "DC Launches 'Super Hero Girls' Universe to Appeal to Young Female Comics Fans". Variety. Archived from the original on June 12, 2018. Retrieved June 11, 2018.
- "'Batman v. Superman' Fallout: Warner Bros. Shakes Up Executive Roles". The Hollywood Reporter. May 17, 2016. Archived from the original on May 19, 2016. Retrieved May 18, 2016.
- McMillan, Graeme (July 27, 2016). "Geoff Johns Confirmed as DC Entertainment President". The Hollywood Reporter. Archived from the original on June 12, 2018. Retrieved May 7, 2018.
- Kit, Borys (August 12, 2016). "DC Entertainment Promotes Amit Desai to Chief of Business and Marketing Strategy". The Hollywood Reporter. Archived from the original on June 12, 2018. Retrieved June 11, 2018.
- Andreeva, Nellie (April 25, 2017). "DC Digital Service To Launch With 'Titans' Series From Greg Berlanti & Akiva Goldsman And 'Young Justice: Outsiders'". Deadline. Archived from the original on June 12, 2018. Retrieved June 11, 2018.
- Petski, Denise (May 2, 2018). "DC's New Digital Service Gets A Name". Deadline Hollywood. Archived from the original on May 2, 2018. Retrieved May 2, 2018.
- Lang, Brent. "Warner Bros. Taps Walter Hamada to Oversee DC Films Production". Variety. Archived from the original on June 12, 2018. Retrieved January 4, 2018.
- Lang, Brent (June 6, 2018). "Diane Nelson Out as DC Entertainment President". Variety. Archived from the original on June 12, 2018. Retrieved June 6, 2018.
- Lang, Brent (June 11, 2018). "Geoff Johns Exiting DC Entertainment President and Chief Creative Officer". Variety. Archived from the original on June 11, 2018. Retrieved June 11, 2018.
- McNary, Dave (September 13, 2018). "Warner Bros. Promotes Pam Lifford to President of New Global Brands and Experiences Division". Variety. Archived from the original on September 13, 2018. Retrieved September 15, 2018.
The new position, announced on Thursday by Warner Bros. chairman-CEO Kevin Tsujihara, will have responsibility over Warner Bros. Consumer Products, DC, themed entertainment, and a new global franchise team.
- "DC Moved to New Warner Bros. Division, With New President in Charge". Newsarama. September 13, 2018. Archived from the original on September 15, 2018. Retrieved September 15, 2018.
The day-to-day operation of DC will continue to be run by Jim Lee, Publisher and Chief Creative Officer, and Dan DiDio, Publisher, who both now report to Lifford.
- Rozakis, Bob. "Conspiracy? Icons? And More?". Silver Bullet Comic Books. Archived from the original on August 20, 2006.
- DC Comics Brand History by Brainchild Studios Archived September 10, 2008, at the Wayback Machine. Retrieved July 29, 2008.
- Newsarama article: "Richard Bruning on designing a new DC logo", May 11, 2005 Archived December 6, 2008, at the Wayback Machine. Retrieved July 29, 2008.
- Khouri, Andy (January 19, 2012). "NEW INTERACTIVE DC COMICS LOGOS TO BE DEPLOYED IN MARCH". Comics Alliance. Archived from the original on December 30, 2013. Retrieved December 29, 2013.
- "DC Entertainment Introduces New Identity For DC Brand" (Press release). DC Entertainment. May 17, 2016. Archived from the original on May 18, 2016. Retrieved May 17, 2016.
- "DC LAUNCHES NEW PUBLISHING IMPRINT DC BLACK LABEL". DC. March 8, 2018. Archived from the original on August 26, 2018. Retrieved August 17, 2018.
- Andreeva, Nellie (April 25, 2017). "DC Digital Service To Launch With Titans Series From Greg Berlanti & Akiva Goldsman And Young Justice: Outsiders". Deadline Hollywood. Archived from the original on March 24, 2018. Retrieved May 2, 2018.
- Gebey, James (May 2, 2018). "Titans, Young Justice Will Premiere on New Streaming Site DC Universe". Inverse. Archived from the original on May 3, 2018. Retrieved May 2, 2018.
- Anderson, Jenna (May 2, 2018). "DC Comics Announces 'DC Universe' Streaming Service". ComicBook.com. Archived from the original on May 3, 2018. Retrieved May 2, 2018.
- Perry, Spencer (May 2, 2018). "DC Universe: Warner Bros.' DC Digital Service Gets a Name". ComingSoon.net. Archived from the original on May 3, 2018. Retrieved May 2, 2018.
- "Suicide Squad grossed $700 million". Archived from the original on January 28, 2017. Retrieved September 12, 2016.
- "The Lego Batman Movie (2017)". Box Office Mojo. Archived from the original on February 16, 2017. Retrieved February 11, 2017.
- "The Lego Batman Movie (2017)". Box Office Mojo. Archived from the original on February 16, 2017. Retrieved February 11, 2017.
- "Wonder Woman (2017)". Box Office Mojo. Archived from the original on July 25, 2017. Retrieved June 1, 2017.
- "Wonder Woman (2017)". Box Office Mojo. Archived from the original on July 25, 2017. Retrieved June 3, 2017.
- "Justice League (2017)". Box Office Mojo. Archived from the original on November 19, 2017. Retrieved December 5, 2017.
- "Film releases". Variety Insight. Archived from the original on February 5, 2018. Retrieved May 9, 2018.
- "Teen Titans Go! To The Movies". Box Office Mojo. Archived from the original on August 19, 2018. Retrieved September 6, 2018.
- "Film releases". Variety Insight. Archived from the original on September 23, 2018. Retrieved September 23, 2018.
- "Aquaman Budget And Filming Location Revealed". comicbook.com. Archived from the original on May 13, 2017. Retrieved November 7, 2017.
- "Aquaman (2018)". Box Office Mojo. Retrieved February 28, 2019.
- Rubin, Rebecca; Rubin, Rebecca (April 3, 2019). "Box Office: 'Shazam!' Heads Toward $45 Million-Plus Opening Weekend". Variety. Retrieved April 4, 2019.
- D'Alessandro, Anthony; D'Alessandro, Anthony (March 14, 2019). "'Shazam!' Looks To Strike Lightning With $45M Opening; 'Pet Sematary' Eyes Mid $20M+ – Early Tracking". Deadline. Retrieved April 4, 2019.
- "Shazam! (2019)". Box Office Mojo. Retrieved April 7, 2019.
- "Joker (2019)". Box Office Mojo. Retrieved December 22, 2019.
- "Joker (2019)". The Numbers. Retrieved December 22, 2019.
- "Batman Begins". Rotten Tomatoes. June 15, 2005. Archived from the original on January 18, 2014. Retrieved August 17, 2019.
- "Batman Begins". Metacritic. Archived from the original on September 13, 2014. Retrieved September 22, 2014.
- "Superman Returns". Rotten Tomatoes. June 28, 2006. Archived from the original on August 7, 2014. Retrieved August 17, 2019.
- "Superman Returns". Metacritic. Archived from the original on March 29, 2014. Retrieved September 22, 2014.
- "The Dark Knight". Rotten Tomatoes. July 18, 2008. Archived from the original on February 24, 2014. Retrieved August 17, 2019.
- "The Dark Knight". Metacritic. Archived from the original on February 9, 2014. Retrieved September 22, 2014.
- "Watchmen". Rotten Tomatoes. March 6, 2009. Archived from the original on September 16, 2014. Retrieved August 17, 2019.
- "Watchmen". Metacritic. Archived from the original on August 21, 2010. Retrieved September 22, 2014.
- "Jonah Hex". Rotten Tomatoes. June 18, 2010. Archived from the original on October 17, 2014. Retrieved August 17, 2019.
- "Jonah Hex". Metacritic. Archived from the original on December 15, 2014. Retrieved September 22, 2014.
- "Green Lantern". Rotten Tomatoes. June 17, 2011. Archived from the original on September 14, 2014. Retrieved August 17, 2019.
- "Green Lantern". Metacritic. Archived from the original on July 2, 2011. Retrieved September 22, 2014.
- "The Dark Knight Rises". Rotten Tomatoes. July 20, 2012. Archived from the original on September 25, 2014. Retrieved August 17, 2019.
- "The Dark Knight Rises". Metacritic. Archived from the original on September 25, 2014. Retrieved September 22, 2014.
- "Man of Steel". Rotten Tomatoes. June 14, 2013. Archived from the original on August 7, 2014. Retrieved August 17, 2019.
- "Man of Steel". Metacritic. Archived from the original on July 6, 2014. Retrieved September 22, 2014.
- "Batman v Superman: Dawn of Justice". Rotten Tomatoes. March 19, 2016. Archived from the original on June 2, 2017. Retrieved August 17, 2019.
- "Batman v Superman: Dawn of Justice". Metacritic. Archived from the original on March 29, 2016. Retrieved March 26, 2016.
- "Suicide Squad". Rotten Tomatoes. August 1, 2016. Archived from the original on September 14, 2016. Retrieved August 17, 2019.
- "Suicide Squad". Metacritic. Archived from the original on August 6, 2016. Retrieved August 5, 2016.
- "The Lego Batman Movie". Rotten Tomatoes. January 29, 2017. Archived from the original on February 6, 2017. Retrieved August 17, 2019.
- "The Lego Batman Movie". Metacritic. Archived from the original on February 9, 2017. Retrieved February 8, 2017.
- "Wonder Woman". Rotten Tomatoes. January 29, 2017. Archived from the original on July 25, 2017. Retrieved August 17, 2019.
- "Wonder Woman". Metacritic. Archived from the original on January 9, 2018. Retrieved February 8, 2017.
- "Justice League". Rotten Tomatoes. Archived from the original on November 19, 2017. Retrieved August 17, 2019.
- "Justice League". Metacritic. Archived from the original on November 17, 2017. Retrieved December 24, 2017.
- Teen Titans Go! To the Movies (2018), retrieved March 17, 2019
- Teen Titans Go! To the Movies, retrieved March 17, 2019
- "Aquaman (2018)". Rotten Tomatoes. Fandango Media. Retrieved August 17, 2019.
- "Aquaman reviews". Metacritic. Retrieved December 23, 2018.
- Shazam! (2019), retrieved April 9, 2019
- Shazam!, retrieved April 9, 2019
- "Joker (2019)". Rotten Tomatoes. Fandango Media. Retrieved December 22, 2019.
- "Joker reviews". Metacritic. CBS Interactive. Retrieved November 26, 2019.
- "Public library app Hoopla adds DC comics to its lineup". Engadget. Archived from the original on April 21, 2017. Retrieved April 20, 2017.
- "DC Comics and Vertigo graphic novels arrive on Google Play, Sandman and all". Engadget. Archived from the original on April 21, 2017. Retrieved April 20, 2017.
- Dc Comics Official website
- DC Comics at the Grand Comics Database
- DC Comics at the Comic Book DB (archived from the original)
- Mike's Amazing World of DC Comics
- DC Comics Database at Wikia.com
|-|| Timeline of DC Comics (1930s)
Autumn 1934 (See also: National Comics Publications)
|New Fun Comics, later retitled More Fun Comics series debuts. See More Fun Comics for more info and next timeline. →|