DC Comics

## DC Comics, Inc.

**DC Comics, Inc.** is an American comic book publisher. It is the publishing unit of DC Entertainment, a subsidiary of Warner Bros. since 1967. DC Comics is one of the largest and oldest American comic book companies, and produces material featuring numerous culturally iconic heroes including: Superman, Batman, Wonder Woman, The Flash, Green Lantern, Martian Manhunter, Nightwing, Green Arrow, Aquaman and Cyborg.

Most of their material takes place in the fictional DC Universe, which also features teams such as the Justice League, the Justice Society of America, the Suicide Squad and the Teen Titans, and from the clutches of the evil villains such as The Joker, Lex Luthor, Catwoman, Darkseid, Sinestro, Brainiac, Black Adam, Ra's al Ghul and Deathstroke. The company has also published non-DC Universe-related material, including *Watchmen*, *V for Vendetta*, 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, but it was announced in October 2013 that DC Entertainment would relocate 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 (the publishers of Spider-Man and Hulk) (acquired in 2009 by The Walt Disney Company, WarnerMedia's main competitor) together shared approximately 70% of the American comic book market in 2017.

## History

### Origins

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 Wonder Woman, Sandman and Batman.

In 1941, the premiere of first female superhero which introduced Wonder Woman, for *All Star Comics* #8 (December 1941), and the comic books such as *Sensation Comics* and *Wonder Woman* in 1942.

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.

### Golden Age

Template:Main

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.

 File:C. C. Beck.jpg
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.

### Silver Age

Template:Main

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,Template:Refn 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 made that impossible. 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 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 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 the Incredible Hulk and Spider-Man co-creator Jack Kirby, Stan Lee and 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/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

Template:Main

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 (Sept. 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. 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.

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.

### Modern Age

Template:Main

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.Template:Citation needed

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/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.

### 2000s

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 and 2006, 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 Wonder Woman*, *All-Star Batman & Robin the Boy Wonder* and *All-Star Superman*, with *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.

### 2010s

In 2011, DC rebooted all of its running titles following the Flashpoint storyline. The reboot called The New 52 gave new origin stories and costume designs to many of DC's characters.

DC licensed pulp characters including Doc Savage and the Spirit which it then used, along with some DC heroes, as part of the First Wave comics line launched in 2010 and lasting through fall 2011.

In May 2011, DC announced it would begin releasing digital versions of their comics on the same day as paper versions.

On June 1, 2011, DC announced that it would end all ongoing series set in the DC Universe in August and relaunch its comic line with 52 issue #1s, starting with *Justice League* on August 31 (written by Geoff Johns and drawn by Jim Lee), with the rest to follow later on in September.

On June 4, 2013, DC unveiled two new digital comic innovations to enhance interactivity: *DC2* and *DC2 Multiverse*. *DC2* layers dynamic artwork onto digital comic panels, adding a new level of dimension to digital storytelling, while *DC2 Multiverse* allows readers to determine a specific story outcome by selecting individual characters, storylines and plot developments while reading the comic, meaning one digital comic has multiple outcomes. *DC2* 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 2014, DC announced an eight-issue miniseries titled *"Convergence"* which began in April 2015.

In 2016, DC announced a line-wide relaunch titled DC Rebirth. The new line would launch with an 80-page one-shot titled DC Universe: Rebirth, written by Geoff Johns, with art from Gary Frank, Ethan Van Sciver, and more. After that, many new series would launch with a twice-monthly release schedule and new creative teams for nearly every title. The relaunch was meant to bring back the legacy and heart many felt had been missing from DC characters since the launch of the New 52. Rebirth brought huge success, both financially and critically.

## General information

### Key people

Pam Lifford (president, Warner Bros. Global Brands and Experiences)
Jim Lee (CCO)
Amit Desai (executive VP)

### Products

Films
Television
Video Games
Publishing

### Brands

DC Universe
Justice League
Batman
Superman
Wonder Woman

### Parent

Warner Bros.
(WarnerMedia)

### Divisions

DC Comics
MAD
DC Vertigo
DC Films

**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.

1. ↑ Template:Cite web
2. ↑ 2.0 2.1 DC Comics Inc. Template:Webarchive Hoovers. Retrieved October 18, 2008.
3. ↑ Template:Cite web
4. ↑ Template:Cite web
5. ↑ Template:Cite web
6. ↑ Template:Cite comic
7. ↑ Template:Cite book
8. ↑ Template:Cite book
9. ↑ *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,...."
10. ↑ Template:Cite web
11. ↑ *New Comics* Template:Webarchive at the Grand Comics Database
12. ↑ *Adventure Comics* (DC, 2009 series) Template:Webarchive at the Grand Comics Database
13. ↑ Template:Harvnb
14. ↑ Template:Cite news
15. ↑ 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 Template:Webarchive:
"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."
16. ↑ Template:Harvnb
17. ↑ Template:Cite news
18. ↑ 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 Template:Sic and becoming National Allied Newspaper Syndicate the next year, it changed to National Comic Template:Sic Publications in 1946 and National Periodical Publications in 1961"
19. ↑ DC Comics, Inc. Template:Webarchive at Bloomberg Businessweek. Retrieved December 18, 2010.
20. ↑ Integrative Arts 10: "The Silver Age" by Jamie Coville Template:Webarchive. Retrieved June 11, 2008.
21. ↑ Template:Cite book
22. ↑ Template:Cite journal
23. ↑ Template:Cite web
24. ↑ Irving, Christopher (July 20, 2012). "Jim Shooter's Secret Origin, in his Own Words – Part One" Template:Webarchive. Graphic NYC.
25. ↑ "Irwin Donenfeld, R.I.P." by Mark Evanier, December 1, 2004 Template:Webarchive. Retrieved June 11, 2008.
26. ↑ Template:Cite web
27. ↑ Kahn, Jenette. "Publishorial: Onward and Upward" Template:Webarchive, DC Comics cover-dated September 1978.
28. ↑ "The DC Implosion", *The Comics Journal* #41 (August 1978), pp. 5–7.
29. ↑ "Post-Implosion Fill-In Fallout", *The Comics Journal* #43 (December 1978), p. 13.
30. ↑ Template:Cite news
31. ↑ MacDonald, Heidi D. "DC's Titanic Success", *The Comics Journal* #76 (October 1982), pp. 46–51.
32. ↑ Template:Cite web
33. ↑ Template:Cite web
34. ↑ Template:Cite web
35. ↑ Template:Cite news
36. ↑ Template:Cite web
37. ↑ 37.0 37.1 "JMS Circles the DC Universe in Red" Template:Webarchive. Comic Book Resources. March 26, 2009
38. ↑ Template:Cite web
39. ↑ Template:Cite web
40. ↑ Template:Cite web
41. ↑ Template:Cite web
42. ↑ Template:Cite news
43. ↑ Template:Cite news
44. ↑ Template:Cite web
45. ↑ Template:Cite news
46. ↑ Template:Cite web
47. ↑ Template:Cite web
48. ↑ Template:Cite web
49. ↑ Template:Cite web
50. ↑ Template:Cite web
51. ↑ Template:Cite web
52. ↑ Template:Cite web
53. ↑ Template:Cite web
54. ↑ Template:Cite web
55. ↑ Template:Cite web