Batman: History
The Golden Age, Silver Age, Bronze Age and Modern Age
For information about the different Ages Of Comic Books in general, read these:
The Golden Age Batman
ca. 1939 - ca. 1956
Detective Comics #27 (May 1939)
The first Batman story, "The Case Of The Chemical Syndicate," was published in Detective Comics #27 (May 1939).
Bill Finger has said: "Batman was originally written in the style of the pulps."
This influence was evident with Batman showing little remorse over killing or maiming criminals.
Batman proved a hit character and received his own solo title in 1940, while continuing to star in Detective Comics. By that time, National Publications (the comic book division that would become DC Comics) was the top-selling and most influential publisher in the industry. Batman and the company's other major hero, Superman, were the cornerstones of the company's success.
Over the course of the first few Batman comics, several elements were added to the character, and the artistic depiction of Batman evolved. Bob Kane noted that within six issues he drew the character's jawline more pronounced, and lengthened the ears on the costume: "About a year later he was almost the full figure, my mature Batman," Kane said.
Batman's characteristic utility belt was introduced in Detective Comics #29 (July 1939), followed by the boomerang-like batarang and the first bat-themed vehicle, the Batplane, in #31 (September 1939).
Batman's origin was revealed in Detective Comics #33 (November 1939), unfolding in a two-page story (see below) that establishes the brooding persona of Batman, a character driven by the death of his parents. Written by Finger, it depicts a young Bruce Wayne witnessing his parents' murder at the hands of a mugger. The child vows that "by the spirits of my parents to avenge their deaths by spending the rest of my life warring on all criminals."
Bill Finger has said: "Batman was originally written in the style of the pulps."
This influence was evident with Batman showing little remorse over killing or maiming criminals.
Batman proved a hit character and received his own solo title in 1940, while continuing to star in Detective Comics. By that time, National Publications (the comic book division that would become DC Comics) was the top-selling and most influential publisher in the industry. Batman and the company's other major hero, Superman, were the cornerstones of the company's success.
Over the course of the first few Batman comics, several elements were added to the character, and the artistic depiction of Batman evolved. Bob Kane noted that within six issues he drew the character's jawline more pronounced, and lengthened the ears on the costume: "About a year later he was almost the full figure, my mature Batman," Kane said.
Batman's characteristic utility belt was introduced in Detective Comics #29 (July 1939), followed by the boomerang-like batarang and the first bat-themed vehicle, the Batplane, in #31 (September 1939).
Batman's origin was revealed in Detective Comics #33 (November 1939), unfolding in a two-page story (see below) that establishes the brooding persona of Batman, a character driven by the death of his parents. Written by Finger, it depicts a young Bruce Wayne witnessing his parents' murder at the hands of a mugger. The child vows that "by the spirits of my parents to avenge their deaths by spending the rest of my life warring on all criminals."
The Legend Of The Batman - Who He Is And How He Came To Be! (Detective Comics #33, November 1939).
The early, pulp-inflected portrayal of Batman started to soften in Detective Comics #38 (April 1940) with the introduction of Robin, Batman's kid sidekick. Robin was introduced based on Finger's suggestion Batman needed a "Watson" with whom he could talk. Sales nearly doubled, despite Kane's preference for a solo Batman, and it sparked a proliferation of ''kid sidekicks.''
Detective Comics #38 (April 1940)
The first issue of the solo spin-off series Batman was notable not only for introducing two of his most persistent antagonists, the Joker and Catwoman, but for a story in which Batman shoots some monstrous giants to death. That story prompted editor Whitney Ellsworth to decree that the character could no longer kill or use a gun.
By 1942, the writers and artists behind the Batman comics had established most of the basic elements of the Batman mythos. In the years following World War II, DC Comics adopted an editorial direction that increasingly de-emphasized social commentary in favor of lighthearted, juvenile fantasy. The impact of this editorial approach was evident in Batman comics of the postwar period; removed from the bleak and menacing world of the strips of the early 1940's, Batman was instead portrayed as a respectable citizen and paternal figure that inhabited a bright and colorful environment.
Batman was one of the few superhero characters to be continuously published as interest in the genre waned during the 1950's. In the story "The Mightiest Team in the World" in Superman #76 (June 1952), Batman teams up with Superman for the very first time and the pair discovers each other's secret identity. Following the success of this story, World's Finest Comics was revamped so it featured stories starring both heroes together instead of the separate Batman and Superman features that had been running before. The team-up of the characters was a financial success in an era when those were few and far between; this series of stories ran until the book's cancellation in 1986.
Batman comics were among those criticized when the comic book industry came under scrutiny with the publication of psychologist Fredric Wertham's book Seduction Of The Innocent (1954). Wertham's thesis was that children imitated crimes committed in comic books, and that these works corrupted the morals of the youth. Wertham criticized Batman comics for their supposed homosexual overtones and argued that Batman and Robin were portrayed as lovers. Wertham's criticisms raised a public outcry, eventually leading to the establishment of the Comics Code Authority. It has been suggested by scholars that the characters of Bat-Woman (Detective Comics #233, July 1956) and the pre-Barbara Gordon Bat-Girl (Batman #139, April 1961) were introduced in part to refute the allegation that Batman and Robin were gay.
By 1942, the writers and artists behind the Batman comics had established most of the basic elements of the Batman mythos. In the years following World War II, DC Comics adopted an editorial direction that increasingly de-emphasized social commentary in favor of lighthearted, juvenile fantasy. The impact of this editorial approach was evident in Batman comics of the postwar period; removed from the bleak and menacing world of the strips of the early 1940's, Batman was instead portrayed as a respectable citizen and paternal figure that inhabited a bright and colorful environment.
Batman was one of the few superhero characters to be continuously published as interest in the genre waned during the 1950's. In the story "The Mightiest Team in the World" in Superman #76 (June 1952), Batman teams up with Superman for the very first time and the pair discovers each other's secret identity. Following the success of this story, World's Finest Comics was revamped so it featured stories starring both heroes together instead of the separate Batman and Superman features that had been running before. The team-up of the characters was a financial success in an era when those were few and far between; this series of stories ran until the book's cancellation in 1986.
Batman comics were among those criticized when the comic book industry came under scrutiny with the publication of psychologist Fredric Wertham's book Seduction Of The Innocent (1954). Wertham's thesis was that children imitated crimes committed in comic books, and that these works corrupted the morals of the youth. Wertham criticized Batman comics for their supposed homosexual overtones and argued that Batman and Robin were portrayed as lovers. Wertham's criticisms raised a public outcry, eventually leading to the establishment of the Comics Code Authority. It has been suggested by scholars that the characters of Bat-Woman (Detective Comics #233, July 1956) and the pre-Barbara Gordon Bat-Girl (Batman #139, April 1961) were introduced in part to refute the allegation that Batman and Robin were gay.
Interregnum
&
The Silver Age Batman
ca. 1956 - ca. 1969
The tendency towards a "sunnier Batman" in the postwar years intensified after the introduction of the Comics Code Authority. Batman's more violent and darker aspects were jettisoned to focus on relatively wholesome (and some would argue, blander) detective stories. In addition, with the writers' need for adventure, but with their freedom to depict violence curtailed, Batman became a daytime deputy of the police, and became involved in increasingly outlandish science-fiction type stories, often involving a fantastic transformation of some kind, trips through time and space, and aliens.
The Silver Age of Comic Books in DC Comics is held to have begun in 1956 when the publisher introduced Barry Allen as a new, updated version of The Flash in DC Showcase #4 (October 1956).
So, although the lighter tone Batman stories had taken in the period between the Golden Age and Silver Age led to many science-fiction elements, Batman himself was not significantly updated in the manner of other characters (like The Flash and Green Lantern), until Detective Comics #327 (May 1964).
By 1964, sales on Batman titles had fallen drastically. Bob Kane has noted that as a result, DC was "planning to kill Batman off altogether." In response to this, editor Julius Schwartz was assigned to the Batman titles. He presided over drastic changes, beginning with 1964's Detective Comics #327 (May 1964), which was cover-billed as the "New Look".
After the introduction of DC Comics' multiverse in the 1960s, DC established that stories from the Golden Age starred the Earth-Two Batman - a character from a parallel world.
The Silver Age of Comic Books in DC Comics is held to have begun in 1956 when the publisher introduced Barry Allen as a new, updated version of The Flash in DC Showcase #4 (October 1956).
So, although the lighter tone Batman stories had taken in the period between the Golden Age and Silver Age led to many science-fiction elements, Batman himself was not significantly updated in the manner of other characters (like The Flash and Green Lantern), until Detective Comics #327 (May 1964).
By 1964, sales on Batman titles had fallen drastically. Bob Kane has noted that as a result, DC was "planning to kill Batman off altogether." In response to this, editor Julius Schwartz was assigned to the Batman titles. He presided over drastic changes, beginning with 1964's Detective Comics #327 (May 1964), which was cover-billed as the "New Look".
After the introduction of DC Comics' multiverse in the 1960s, DC established that stories from the Golden Age starred the Earth-Two Batman - a character from a parallel world.
Detective Comics #327 (May 1964)
Schwartz introduced changes designed to make Batman more contemporary, and to return him to more detective-oriented stories. He brought in artist Carmine Infantino to help overhaul the character.
The Batmobile was redesigned, and Batman's costume was modified to incorporate a yellow ellipse behind the bat-insignia.
The space aliens and characters of the 1950s, such as Batwoman and Bat-Girl, Ace The Bat-Hound (Batman #92, June 1955) and Bat-Mite (Detective Comics #267, May 1959) were retired. Also, butler Alfred was killed off (!) while a new female relative for the Wayne family, Dick Grayson's Aunt Harriet, came to live with Bruce and Dick. The decision to include Aunt Harriet as a replacement for Alfred in the Batman comics, was (again) to allay the claims made by Fredric Wertham that three single men living in a household seemed "suspicious". Aunt Harriet was included as a female companion for Batman and Robin, without having the heroes involved in silly romances as they previously had with Batwoman and Bat-Girl.
Alfred's death in the comics was later reversed, due to fan response; he was brought back by a scientist using a regeneration machine. While pushing Batman and Robin out of the way of a falling boulder, Alfred was seemingly killed in Detective Comics #328 (June 1964). It was revealed in Detective Comics #356 (October 1966) that he had been revived by a scientist named Brandon Crawford. His attempt at regeneration resulted in a dramatic change: Alfred awoke from his apparent death with pasty white skin with circular markings, superhuman powers, including telekinesis, and a desire to destroy Batman and Robin. Calling himself The Outsider, he indirectly battled the Dynamic Duo on a number of occasions, using others as his puppets – the Grasshopper Gang in Detective Comics #334 (December 1964), Zatanna in Detective Comics #336 (February 1965), and even the Batmobile in Detective Comics #340 (June 1965) – and generally only appeared as a mocking voice over the radio. He did not physically appear in the comics until Detective Comics #356 (October 1966), when he is bathed again in the rays of the regeneration machine during a struggle with Batman, and returns to normal, with no memory of his time as a super-villain.
Detective Comics #328 (June 1964) - the issue that features the apparent death of Alfred - also features the introduction of Aunt Harriet (Cooper).
A recurring health problem (mentioned in late 1967's Detective Comics #371) blossomed into a full-scale crisis and Harriet was rushed to Gotham General for emergency surgery in early 1968. She recovered at Wayne Manor, with Alfred now playing caretaker for her. Not wanting to be a burden and regarding herself as redundant alongside Alfred, Harriet moved out. She made her final appearance as an ongoing series character in Detective Comics #380 (October 1968). Harriet's last recorded visit with Dick, Bruce and Alfred was over the 1975 Christmas holidays in Batman Family #4 (April 1976).
The Batmobile was redesigned, and Batman's costume was modified to incorporate a yellow ellipse behind the bat-insignia.
The space aliens and characters of the 1950s, such as Batwoman and Bat-Girl, Ace The Bat-Hound (Batman #92, June 1955) and Bat-Mite (Detective Comics #267, May 1959) were retired. Also, butler Alfred was killed off (!) while a new female relative for the Wayne family, Dick Grayson's Aunt Harriet, came to live with Bruce and Dick. The decision to include Aunt Harriet as a replacement for Alfred in the Batman comics, was (again) to allay the claims made by Fredric Wertham that three single men living in a household seemed "suspicious". Aunt Harriet was included as a female companion for Batman and Robin, without having the heroes involved in silly romances as they previously had with Batwoman and Bat-Girl.
Alfred's death in the comics was later reversed, due to fan response; he was brought back by a scientist using a regeneration machine. While pushing Batman and Robin out of the way of a falling boulder, Alfred was seemingly killed in Detective Comics #328 (June 1964). It was revealed in Detective Comics #356 (October 1966) that he had been revived by a scientist named Brandon Crawford. His attempt at regeneration resulted in a dramatic change: Alfred awoke from his apparent death with pasty white skin with circular markings, superhuman powers, including telekinesis, and a desire to destroy Batman and Robin. Calling himself The Outsider, he indirectly battled the Dynamic Duo on a number of occasions, using others as his puppets – the Grasshopper Gang in Detective Comics #334 (December 1964), Zatanna in Detective Comics #336 (February 1965), and even the Batmobile in Detective Comics #340 (June 1965) – and generally only appeared as a mocking voice over the radio. He did not physically appear in the comics until Detective Comics #356 (October 1966), when he is bathed again in the rays of the regeneration machine during a struggle with Batman, and returns to normal, with no memory of his time as a super-villain.
Detective Comics #328 (June 1964) - the issue that features the apparent death of Alfred - also features the introduction of Aunt Harriet (Cooper).
A recurring health problem (mentioned in late 1967's Detective Comics #371) blossomed into a full-scale crisis and Harriet was rushed to Gotham General for emergency surgery in early 1968. She recovered at Wayne Manor, with Alfred now playing caretaker for her. Not wanting to be a burden and regarding herself as redundant alongside Alfred, Harriet moved out. She made her final appearance as an ongoing series character in Detective Comics #380 (October 1968). Harriet's last recorded visit with Dick, Bruce and Alfred was over the 1975 Christmas holidays in Batman Family #4 (April 1976).
The debut of the Batman television series in January 1966 had a profound influence on the character. The success of the series increased sales throughout the comic book industry, and Batman reached a circulation of close to 900,000 copies. The show's campy nature was also introduced into the comics.
Although the comics and TV show were successful for a time, the camp approach eventually wore thin; the show was cancelled in 1968. In the aftermath, the Batman comics themselves lost popularity once again. As Julius Schwartz noted:
"When the television show was a success, I was asked to be campy, and of course when the show faded, so did the comic books."
Batman meets and works with other heroes during the Silver Age, most notably Superman, whom he began regularly working alongside in a series of team-ups in World's Finest Comics, starting in World's Finest Comics #71 (June 1954) and continuing (with some exceptions) through the series' cancellation in 1986. Here, Batman and Superman are usually depicted as close friends.
Batman became a founding member of The Justice League Of America, appearing in its first story in 1960s Brave And The Bold #28 (March 1960).
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In the final issue of Brave And The Bold (#200, July 1983), Batman quits the Justice League and forms a new group called The Outsiders. He serves as the team's leader until Batman And The Outsiders #32 (April 1986) and the comic subsequently changed its title to The Outsiders.
Although the comics and TV show were successful for a time, the camp approach eventually wore thin; the show was cancelled in 1968. In the aftermath, the Batman comics themselves lost popularity once again. As Julius Schwartz noted:
"When the television show was a success, I was asked to be campy, and of course when the show faded, so did the comic books."
Batman meets and works with other heroes during the Silver Age, most notably Superman, whom he began regularly working alongside in a series of team-ups in World's Finest Comics, starting in World's Finest Comics #71 (June 1954) and continuing (with some exceptions) through the series' cancellation in 1986. Here, Batman and Superman are usually depicted as close friends.
Batman became a founding member of The Justice League Of America, appearing in its first story in 1960s Brave And The Bold #28 (March 1960).
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In the final issue of Brave And The Bold (#200, July 1983), Batman quits the Justice League and forms a new group called The Outsiders. He serves as the team's leader until Batman And The Outsiders #32 (April 1986) and the comic subsequently changed its title to The Outsiders.
The Bronze Age Batman
ca. 1969 - ca. 1986
Detective Comics #395 (January 1970)
Starting in 1969, soon after the cancellation of the live-action TV show (the final episode aired in March 1968), editors at DC were determined to banish the specter of "camp" and return the character to his origins as a shadowy, spooky figure.
Beginning with Batman #217 (December 1969), in the story, "One Bullet Too Many," the clutter that had accumulated for decades was swept away for a fresh start.
Wayne Manor, The Batcave and all its assorted bat-devices were locked up and left behind as Batman (now "The Batman") relocated to a penthouse apartment atop the towering Wayne Foundation in downtown Gotham. The highly stylized and gadget-laden Batmobiles of the past were replaced by a low-key sportscar with only a painted bat-head on the hood to suggest its owner's identity. It was rarely driven anyway, as Batman's new residence put him near the center of the action; usually he could simply leap from his apartment and swing on a rope to wherever he needed to. Also, Dick Grayson went away to Hudson University (where he had his own adventures in a series of back-up tales) as part of DC Comics' effort to revise the Batman comics.
Beginning with Batman #217 (December 1969), in the story, "One Bullet Too Many," the clutter that had accumulated for decades was swept away for a fresh start.
Wayne Manor, The Batcave and all its assorted bat-devices were locked up and left behind as Batman (now "The Batman") relocated to a penthouse apartment atop the towering Wayne Foundation in downtown Gotham. The highly stylized and gadget-laden Batmobiles of the past were replaced by a low-key sportscar with only a painted bat-head on the hood to suggest its owner's identity. It was rarely driven anyway, as Batman's new residence put him near the center of the action; usually he could simply leap from his apartment and swing on a rope to wherever he needed to. Also, Dick Grayson went away to Hudson University (where he had his own adventures in a series of back-up tales) as part of DC Comics' effort to revise the Batman comics.
Batman #217 (December 1969)
The Joker and the rest of the rogue's gallery were out of the picture, at least for a while; the Batman operated alone and relied on his wits, solving mysteries and fighting street thugs in back alleys. He had become again what he had been in the beginning; a lone wolf, a mysterious figure haunting Gotham by night and striking fear into the hearts of evil-doers.
Batman spent the 1970s and early 1980s mainly working solo, with occasional team-ups with Robin and/or Batgirl. Batman's adventures also became somewhat darker and more grim during this period, depicting increasingly violent crimes, including the first appearance (since the early Golden Age) of the Joker as a homicidal psychopath, and the arrival of Ra's al Ghul, a centuries-old terrorist who knows Batman's secret identity. In the 1980s, Dick Grayson became the super-hero ''Nightwing''.
Artwork on the Batman books underscored the change in direction. From the 40's through the 60's, Batman had been drawn wearing a cowl with short "bat-ears" and a calf-length cape. Now the ears were long and razor-sharp, and the cape wrapped around him like Dracula's. Depending on who was drawing, or what Batman was doing at the time, the cape could go down to his ankles or billow out behind him as large as a sail. The new Batman was rarely seen in daylight, keeping to the shadows and swooping down on criminals like a force of nature.
So, writer Dennis O'Neil and artist Neal Adams made a deliberate effort to distance Batman from the campy portrayal of the 1960s TV series and to return the character to his roots as a "grim avenger of the night." O'Neil said his idea was "simply to take it back to where it started. I went to the DC library and read some of the early stories. I tried to get a sense of what Kane and Finger were after."
O'Neil and Adams first collaborated on the story ''The Secret Of The Waiting Graves'' (Detective Comics #395, January 1970). Few stories were true collaborations between O'Neil, Adams, Schwartz, and inker Dick Giordano, and in actuality these men were mixed and matched with various other creators during the 1970s; nevertheless the influence of their work was "tremendous." Giordano said: "We went back to a grimmer, darker Batman, and I think that's why these stories did so well... Even today we're still using Neal's Batman with the long flowing cape and the pointy ears."
While the work of O'Neil and Adams was popular with fans, the acclaim did little to help declining sales; the same held true with a similarly acclaimed run by writer Steve Englehart and penciler Marshall Rogers in Detective Comics #471-476 (August 1977-April 1978), which went on to influence the 1989 Batman movie and be adapted for Batman: The Animated Series, which debuted in 1992. Regardless, circulation continued to drop through the 1970s and 1980s, hitting an all-time low in 1985.
Batman spent the 1970s and early 1980s mainly working solo, with occasional team-ups with Robin and/or Batgirl. Batman's adventures also became somewhat darker and more grim during this period, depicting increasingly violent crimes, including the first appearance (since the early Golden Age) of the Joker as a homicidal psychopath, and the arrival of Ra's al Ghul, a centuries-old terrorist who knows Batman's secret identity. In the 1980s, Dick Grayson became the super-hero ''Nightwing''.
Artwork on the Batman books underscored the change in direction. From the 40's through the 60's, Batman had been drawn wearing a cowl with short "bat-ears" and a calf-length cape. Now the ears were long and razor-sharp, and the cape wrapped around him like Dracula's. Depending on who was drawing, or what Batman was doing at the time, the cape could go down to his ankles or billow out behind him as large as a sail. The new Batman was rarely seen in daylight, keeping to the shadows and swooping down on criminals like a force of nature.
So, writer Dennis O'Neil and artist Neal Adams made a deliberate effort to distance Batman from the campy portrayal of the 1960s TV series and to return the character to his roots as a "grim avenger of the night." O'Neil said his idea was "simply to take it back to where it started. I went to the DC library and read some of the early stories. I tried to get a sense of what Kane and Finger were after."
O'Neil and Adams first collaborated on the story ''The Secret Of The Waiting Graves'' (Detective Comics #395, January 1970). Few stories were true collaborations between O'Neil, Adams, Schwartz, and inker Dick Giordano, and in actuality these men were mixed and matched with various other creators during the 1970s; nevertheless the influence of their work was "tremendous." Giordano said: "We went back to a grimmer, darker Batman, and I think that's why these stories did so well... Even today we're still using Neal's Batman with the long flowing cape and the pointy ears."
While the work of O'Neil and Adams was popular with fans, the acclaim did little to help declining sales; the same held true with a similarly acclaimed run by writer Steve Englehart and penciler Marshall Rogers in Detective Comics #471-476 (August 1977-April 1978), which went on to influence the 1989 Batman movie and be adapted for Batman: The Animated Series, which debuted in 1992. Regardless, circulation continued to drop through the 1970s and 1980s, hitting an all-time low in 1985.
Transition
By the time the Bronze Age ended (around 1979), a lot of the old clutter was back in place and as the 80s dawned it came racing back in full force. A new Robin arrived, and one-time lone wolf Bruce Wayne was a domesticated "dad" again with his new ward, Jason Todd.
Long-running subplots dealt with corporate intrigues at the Wayne Foundation as well as Bruce/Batman's romances with Vicki Vale, Selina Kyle (Catwoman) and the sort-of villain Nocturna. One story followed Batman and Catwoman for a night on the town that ended with them sharing a plate of spaghetti like the Lady and the Tramp; Batman had lost his edge, and the stage was set for artist/writer Frank Miller to reboot the character once again with The Dark Knight Returns, a 1986 mini-series that reimagined Batman as an aging, embittered warrior in a very dark Gotham. Although presented as merely a "possible future" for Batman, and not part of official continuity, DKR - and the acclaim it received - created a new blueprint for the character that's still followed today. Unlike the Bronze Age model, this new Batman is obsessive, frequently brutal, emotionally distant from the other "Bat-Family" characters and, as far as his fellow heroes are concerned, not entirely trustworthy, or even mentally sound.
The end of the Bronze Age is debatable. Like the beginning, the exact date is uncertain, and not every single comic book may be said to have exited the Bronze Age at exactly the same date. One commonly used ending point for the Bronze Age is the 1985-1986 time frame. At this point, DC Comics completed Crisis On Infinite Earths, which marked the revitalization of the company's product line to become a serious market challenger to Marvel again. This time frame also includes the company's release of the highly acclaimed works: Watchmen (by Alan Moore) and The Dark Knight Returns (by Frank Miller), which redefined the superhero genre and inspired years of "grim and gritty" comic books.
Long-running subplots dealt with corporate intrigues at the Wayne Foundation as well as Bruce/Batman's romances with Vicki Vale, Selina Kyle (Catwoman) and the sort-of villain Nocturna. One story followed Batman and Catwoman for a night on the town that ended with them sharing a plate of spaghetti like the Lady and the Tramp; Batman had lost his edge, and the stage was set for artist/writer Frank Miller to reboot the character once again with The Dark Knight Returns, a 1986 mini-series that reimagined Batman as an aging, embittered warrior in a very dark Gotham. Although presented as merely a "possible future" for Batman, and not part of official continuity, DKR - and the acclaim it received - created a new blueprint for the character that's still followed today. Unlike the Bronze Age model, this new Batman is obsessive, frequently brutal, emotionally distant from the other "Bat-Family" characters and, as far as his fellow heroes are concerned, not entirely trustworthy, or even mentally sound.
The end of the Bronze Age is debatable. Like the beginning, the exact date is uncertain, and not every single comic book may be said to have exited the Bronze Age at exactly the same date. One commonly used ending point for the Bronze Age is the 1985-1986 time frame. At this point, DC Comics completed Crisis On Infinite Earths, which marked the revitalization of the company's product line to become a serious market challenger to Marvel again. This time frame also includes the company's release of the highly acclaimed works: Watchmen (by Alan Moore) and The Dark Knight Returns (by Frank Miller), which redefined the superhero genre and inspired years of "grim and gritty" comic books.
The Modern Age Batman
ca. 1986 - Present
Batman: The Dark Knight Returns #1 (February 1986)
Frank Miller's limited series Batman: The Dark Knight Returns (February–June 1986), tells the story of a 50-year old Batman coming out of retirement in a possible future. It was a success and it has since become one of the medium's most noted touchstones. The series also sparked a major resurgence in Batman's popularity.
That same year (1986), Dennis O'Neil took over as editor of the Batman titles and set the template for the portrayal of Batman following DC's status quo-altering limited series Crisis On Infinite Earths. Following this 12-issue limited series, DC Comics retconned the histories of some major characters in an attempt at updating them for contemporary audiences.
While Batman wasn't rebooted in the traditional sense, writer Frank Miller (who'd previously made a name for himself with The Dark Knight Returns) retold the Batman's origin story for the new continuity in the pages of Batman (#404-407). This story, Batman: Year One, garnered high critical acclaim for its realistic interpretation of Batman's genesis and its accessibility to new readers who'd never followed Batman before. Batman: Year One also emphasized a grittier tone in the character.
Though Golden Age/Earth-Two Batman was (mostly) erased from history, many stories of Batman's Silver Age/Earth-One career remained canonical in the post-Crisis universe, with his origins remaining the same in essence, despite some alteration.
For example, Gotham's police are mostly corrupt, setting up further need for Batman's existence. While Dick Grayson's past remained much the same, the history of Jason Todd, the second Robin, was altered, turning Jason into the orphan son of a petty crook, who tries to steal the tires from the Batmobile. Also removed is the guardian Phillip Wayne leaving young Bruce to be raised by Alfred Pennyworth.
Batman: The Killing Joke (1988) by Alan Moore and Brian Bolland continued the darker trend for Batman, as did A Death In The Family (1988), in which DC killed off Jason Todd, the second Robin, as a result of a phone vote. Subsequently, Batman begins exhibiting an excessive, reckless approach to his crime-fighting, a result of the pain of losing Jason Todd. Batman works solo until the decade's close, when Tim Drake becomes the new Robin.
The darkening of the Batman continued in the 90s. Many of the major Batman storylines since the 1990s have been inter-title crossovers that run for a number of issues. In 1993, DC published both "The Death Of Superman" storyline and "Batman: Knightfall".
In the ''Batman: Knightfall'' storyline's first phase, the new villain Bane paralyzes Batman, leading him to ask Azrael (Jean-Paul Valley) to take on the role. During "Batman: Knightfall", the storylines split in two directions, following both the Azrael-Batman's adventures, and Bruce Wayne's quest to become Batman once more. The story arcs realign in "KnightsEnd," as Azrael becomes increasingly violent and is defeated by a healed Bruce Wayne. Bruce then hands the Batman mantle over to Dick Grayson (Nightwing) for an interim period, while he trains to return to the role (in Batman: Prodigal).
The 1994 company-wide crossover Zero Hour changes aspects of DC continuity once again, including those of Batman. Noteworthy among these changes is that the general populace and the criminal element now consider Batman an urban legend rather than a known force. Also, the Waynes' killer is never caught or identified, effectively removing Joe Chill from continuity.
Batman and Gotham City face catastrophe in the decade's closing crossover arc. In 1998's "Batman: Cataclysm" story arc, Gotham City is devastated by an earthquake and ultimately cut off from the United States Government. Deprived of many of his technological resources, Batman fights to reclaim the city from legions of gangs during 1999's "Batman: No Man's Land".
Batman's relationship with the Gotham City PD changed for the worse with the events of "Batman: Officer Down" and "Batman: War Games/War Crimes". More troubles came in "Bruce Wayne: Murderer?" and "Bruce Wayne: Fugitive".
Having lost their way a little towards the end of the 90's, DC refocussed the Batman line again in 2003 when Jeph Loeb and Jim Lee began a 12-issue run with Batman: Hush (Batman #608-619), that was Lee’s first regular comic work in most of 10 years and instantly propelled Batman back to the top of the sales charts. The series became #1 on the Diamond Comic Distributors sales chart for the first time since Batman #500 (October 1993), and Jason Todd's re-appearance laid the groundwork for writer Judd Winick's subsequent run as writer on Batman with another multi-issue epic, Batman: Under the Hood (Batman #637-650, 2005).
Starting in 2006, the regular writers on Batman and Detective Comics were Grant Morrison and Paul Dini, with Grant Morrison reincorporating controversial elements of Batman lore (most notably, the science fiction themed story-lines of the 1950s Batman comics, which Morrison revised as hallucinations Batman suffered under the influence of various mind-bending gases and extensive sensory deprivation training) into the character. Morrison's run climaxed with ''Batman R.I.P.'', which brought Batman up against the villainous Black Glove organization, which sought to drive Batman into madness. ''Batman R.I.P.'' segued into ''Final Crisis'' (also written by Morrison), which saw the apparent death of Batman at the hands of Darkseid.
In the 2009 mini-series ''Batman: Battle for the Cowl'', Wayne's former protégé Dick Grayson becomes the new Batman, following Batman's apparent death during ''Final Crisis'', and Wayne's son Damian Wayne becomes the new Robin. In June 2009, Judd Winick returned to writing Batman, while Grant Morrison was given his own series titled Batman & Robin.
In 2010, the story-line Batman: The Return of Bruce Wayne saw Bruce travel through history, eventually returning to the present day. Although he reclaimed the mantle of Batman, he also allowed Grayson to continue being Batman as well. Bruce decided to take his war on crime globally, which is the central focus of Batman: Incorporated. DC Comics would later announce that Grayson would be the main character in Batman, Detective Comics and Batman & Robin, while Wayne would be the main character in Batman Incorporated. Also, Bruce appeared in another ongoing series, Batman: The Dark Knight.
That same year (1986), Dennis O'Neil took over as editor of the Batman titles and set the template for the portrayal of Batman following DC's status quo-altering limited series Crisis On Infinite Earths. Following this 12-issue limited series, DC Comics retconned the histories of some major characters in an attempt at updating them for contemporary audiences.
While Batman wasn't rebooted in the traditional sense, writer Frank Miller (who'd previously made a name for himself with The Dark Knight Returns) retold the Batman's origin story for the new continuity in the pages of Batman (#404-407). This story, Batman: Year One, garnered high critical acclaim for its realistic interpretation of Batman's genesis and its accessibility to new readers who'd never followed Batman before. Batman: Year One also emphasized a grittier tone in the character.
Though Golden Age/Earth-Two Batman was (mostly) erased from history, many stories of Batman's Silver Age/Earth-One career remained canonical in the post-Crisis universe, with his origins remaining the same in essence, despite some alteration.
For example, Gotham's police are mostly corrupt, setting up further need for Batman's existence. While Dick Grayson's past remained much the same, the history of Jason Todd, the second Robin, was altered, turning Jason into the orphan son of a petty crook, who tries to steal the tires from the Batmobile. Also removed is the guardian Phillip Wayne leaving young Bruce to be raised by Alfred Pennyworth.
Batman: The Killing Joke (1988) by Alan Moore and Brian Bolland continued the darker trend for Batman, as did A Death In The Family (1988), in which DC killed off Jason Todd, the second Robin, as a result of a phone vote. Subsequently, Batman begins exhibiting an excessive, reckless approach to his crime-fighting, a result of the pain of losing Jason Todd. Batman works solo until the decade's close, when Tim Drake becomes the new Robin.
The darkening of the Batman continued in the 90s. Many of the major Batman storylines since the 1990s have been inter-title crossovers that run for a number of issues. In 1993, DC published both "The Death Of Superman" storyline and "Batman: Knightfall".
In the ''Batman: Knightfall'' storyline's first phase, the new villain Bane paralyzes Batman, leading him to ask Azrael (Jean-Paul Valley) to take on the role. During "Batman: Knightfall", the storylines split in two directions, following both the Azrael-Batman's adventures, and Bruce Wayne's quest to become Batman once more. The story arcs realign in "KnightsEnd," as Azrael becomes increasingly violent and is defeated by a healed Bruce Wayne. Bruce then hands the Batman mantle over to Dick Grayson (Nightwing) for an interim period, while he trains to return to the role (in Batman: Prodigal).
The 1994 company-wide crossover Zero Hour changes aspects of DC continuity once again, including those of Batman. Noteworthy among these changes is that the general populace and the criminal element now consider Batman an urban legend rather than a known force. Also, the Waynes' killer is never caught or identified, effectively removing Joe Chill from continuity.
Batman and Gotham City face catastrophe in the decade's closing crossover arc. In 1998's "Batman: Cataclysm" story arc, Gotham City is devastated by an earthquake and ultimately cut off from the United States Government. Deprived of many of his technological resources, Batman fights to reclaim the city from legions of gangs during 1999's "Batman: No Man's Land".
Batman's relationship with the Gotham City PD changed for the worse with the events of "Batman: Officer Down" and "Batman: War Games/War Crimes". More troubles came in "Bruce Wayne: Murderer?" and "Bruce Wayne: Fugitive".
Having lost their way a little towards the end of the 90's, DC refocussed the Batman line again in 2003 when Jeph Loeb and Jim Lee began a 12-issue run with Batman: Hush (Batman #608-619), that was Lee’s first regular comic work in most of 10 years and instantly propelled Batman back to the top of the sales charts. The series became #1 on the Diamond Comic Distributors sales chart for the first time since Batman #500 (October 1993), and Jason Todd's re-appearance laid the groundwork for writer Judd Winick's subsequent run as writer on Batman with another multi-issue epic, Batman: Under the Hood (Batman #637-650, 2005).
Starting in 2006, the regular writers on Batman and Detective Comics were Grant Morrison and Paul Dini, with Grant Morrison reincorporating controversial elements of Batman lore (most notably, the science fiction themed story-lines of the 1950s Batman comics, which Morrison revised as hallucinations Batman suffered under the influence of various mind-bending gases and extensive sensory deprivation training) into the character. Morrison's run climaxed with ''Batman R.I.P.'', which brought Batman up against the villainous Black Glove organization, which sought to drive Batman into madness. ''Batman R.I.P.'' segued into ''Final Crisis'' (also written by Morrison), which saw the apparent death of Batman at the hands of Darkseid.
In the 2009 mini-series ''Batman: Battle for the Cowl'', Wayne's former protégé Dick Grayson becomes the new Batman, following Batman's apparent death during ''Final Crisis'', and Wayne's son Damian Wayne becomes the new Robin. In June 2009, Judd Winick returned to writing Batman, while Grant Morrison was given his own series titled Batman & Robin.
In 2010, the story-line Batman: The Return of Bruce Wayne saw Bruce travel through history, eventually returning to the present day. Although he reclaimed the mantle of Batman, he also allowed Grayson to continue being Batman as well. Bruce decided to take his war on crime globally, which is the central focus of Batman: Incorporated. DC Comics would later announce that Grayson would be the main character in Batman, Detective Comics and Batman & Robin, while Wayne would be the main character in Batman Incorporated. Also, Bruce appeared in another ongoing series, Batman: The Dark Knight.
2011 Reboot:
In September 2011, DC Comics' entire line of superhero books- including its Batman franchise - was cancelled, and 52 new series relaunched with new #1 issues as part of ''The New 52''.
Among the series being renumbered were Action Comics and Detective Comics, which had previously retained their original numbering since the 1930s.
With the beginning of The New 52, the then-present of the DC Universe was retconned to be only five years from the first appearance of Superman. This caused several problems. So, a lot we know from Batman's history is now crammed into a 5-year timeline? How could there be four (or five?) Robins in such short time?
In this new continuity, Dick Grayson became Robin at age 15, but was wearing a brand new (never before seen) costume. Also, Tim Drake has never been Robin, but he was Red Robin from the very start. Also, "Tim Drake" isn't his real name, and his parents are alive...
From the start of ''The New 52'', Bruce Wayne has been the only character to be identified as Batman and was featured in Batman, Detective Comics, Batman & Robin, and Batman: The Dark Knight. Dick Grayson returned to the mantle of Nightwing and appeared in his own ongoing series (Nightwing, Vol. 3). Tim Drake is featured as Red Robin in the new ongoing series Teen Titans. While many characters had their histories significantly altered to attract new readers, Batman's history remained mostly intact.
DC has confirmed with the #0 issues (September 2012) that the ''New 52'' is a hard reboot, not a soft one. Nothing Pre-Flashpoint counts, that continuity ended in August 2011 and remains unchanged. Certain 'ideas' are being used in ''The New 52'' to give creative back-story, so Barbara was shot by The Joker, but The Killing Joke as a book does not exist.
The writers are treating everything as free to make up any new back-story they want, and many are keeping aspects from previous continuities that they like. It's like when Hollywood remakes a film; the original remains unchanged, but the original does not exist in the universe of the remake. It's just old ideas being reused in new ways - that sums up The New 52.
So, with reading The New 52, discard everything you know about the 1986-2011 continuity. In Post-Flashpoint it does not exist and it did not happen. Any history DC wants to tell you they will fill in whenever they want. The old continuity is only a springboard of ideas for them to start from. The 1986-2011 continuity remains as it is, unchanged, as it exists in a separate universe.
The only exception is Batman: Incorporated, because Grant Morrison is still writing pre-Flashpoint, but visually the book has The New 52 costumes to keep editorial idiots happy...
[Courtesy of Nick @ TheBatSquad.net]
''The New 52'' Batman (and related) titles:
Grant Morrison's short-lived Batman Incorporated was initially absent from the relaunch; the title relaunched later, in 2012, with a new #1 to complete the "Leviathan" story arc, continuing the narrative of the first series, while (partly) incorporating the altered elements of the DC Universe continuity and characters into the new series.
Among the series being renumbered were Action Comics and Detective Comics, which had previously retained their original numbering since the 1930s.
- Action Comics ''ended'' with #904;
- Detective Comics ''ended'' with #881;
- Batman (original numbering since 1940) ''ended'' with #713.
With the beginning of The New 52, the then-present of the DC Universe was retconned to be only five years from the first appearance of Superman. This caused several problems. So, a lot we know from Batman's history is now crammed into a 5-year timeline? How could there be four (or five?) Robins in such short time?
In this new continuity, Dick Grayson became Robin at age 15, but was wearing a brand new (never before seen) costume. Also, Tim Drake has never been Robin, but he was Red Robin from the very start. Also, "Tim Drake" isn't his real name, and his parents are alive...
From the start of ''The New 52'', Bruce Wayne has been the only character to be identified as Batman and was featured in Batman, Detective Comics, Batman & Robin, and Batman: The Dark Knight. Dick Grayson returned to the mantle of Nightwing and appeared in his own ongoing series (Nightwing, Vol. 3). Tim Drake is featured as Red Robin in the new ongoing series Teen Titans. While many characters had their histories significantly altered to attract new readers, Batman's history remained mostly intact.
DC has confirmed with the #0 issues (September 2012) that the ''New 52'' is a hard reboot, not a soft one. Nothing Pre-Flashpoint counts, that continuity ended in August 2011 and remains unchanged. Certain 'ideas' are being used in ''The New 52'' to give creative back-story, so Barbara was shot by The Joker, but The Killing Joke as a book does not exist.
The writers are treating everything as free to make up any new back-story they want, and many are keeping aspects from previous continuities that they like. It's like when Hollywood remakes a film; the original remains unchanged, but the original does not exist in the universe of the remake. It's just old ideas being reused in new ways - that sums up The New 52.
So, with reading The New 52, discard everything you know about the 1986-2011 continuity. In Post-Flashpoint it does not exist and it did not happen. Any history DC wants to tell you they will fill in whenever they want. The old continuity is only a springboard of ideas for them to start from. The 1986-2011 continuity remains as it is, unchanged, as it exists in a separate universe.
The only exception is Batman: Incorporated, because Grant Morrison is still writing pre-Flashpoint, but visually the book has The New 52 costumes to keep editorial idiots happy...
[Courtesy of Nick @ TheBatSquad.net]
''The New 52'' Batman (and related) titles:
- Batman (Vol. 2)
- Detective Comics (Vol. 2)
- Batwing
- Batman: The Dark Knight (Vol. 2)
- Batman and Robin (Vol. 2)
- Batgirl (Vol. 4)
- Batwoman
- Nightwing (Vol. 3)
- Catwoman (Vol. 4)
- Birds Of Prey (Vol. 3)
- Red Hood And The Outlaws
- Teen Titans (Vol. 4)
Grant Morrison's short-lived Batman Incorporated was initially absent from the relaunch; the title relaunched later, in 2012, with a new #1 to complete the "Leviathan" story arc, continuing the narrative of the first series, while (partly) incorporating the altered elements of the DC Universe continuity and characters into the new series.
New Logo
The existing DC logo, the so-called "DC Spin'' (or ''DC Swoosh'') was introduced in 2005 as a replacement for the classic "DC Bullet" that had been in place since 1976.
1976
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2005
2011
The new DC logo reads as a ''D''-shaped page that pulls back to reveal a ''C'' that could either be an obvious letter or infused with elements of a property or character.
- Digital devices (computers, tablets, smartphones, touch-screen displays, gaming consoles) will enable users to peel back the ''D'' to expose a character, image, or story.
- The ''C'' can be customized to the colors and qualities of the property it’s promoting: silver and gray for the corporation, blue for DC Comics, or sparks for The Flash, green for Green Lantern, or a mist for Batman.
- All are unified by a common font: Gotham Bold.
DC's Senior Vice President of Franchise Management Amit Desai suggested the new logo's "peel back" imagery reflects the nature of DC characters as individuals with dual identities...
Detective Comics (Vol. 2) #1 (November 2011)
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Batman (Vol. 2) #1 (November 2011)
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Since the beginning of The New 52, Scott Snyder has been the writer of the flagship Batman title.
His first major story arc was "Night of the Owls", where Batman confronts the Court of Owls, a secret society that has controlled Gotham for centuries.
The second story arc was "Death Of The Family", where the Joker returns to Gotham and simultaneously attacks each member of the Batman family.
The third story arc was "Batman: Zero Year", which redefined Batman's origin in The New 52. It followed Batman #0 (published in June 2012), which explored the character's early years.
The final storyline before Convergence (2015) event was ''Endgame'', depicting the supposed final battle between Batman and the Joker when he unleashes the deadly Endgame virus onto Gotham City. The storyline ends with Batman and the Joker's supposed deaths.
Starting with Batman #41, Commissioner James Gordon took over Bruce's mantle as a new, state-sanctioned, mecha Batman, debuting in the Free Comic Book Day special comic ''DC Comics: Divergence #1''. However, Bruce Wayne is soon revealed to be alive, albeit now suffering almost total amnesia of his life as Batman and only remembering his life as Bruce Wayne through what he has learned from Alfred.
Eventually, Bruce returns to watching over Gotham once more in Batman (Vol. 2) #50 (May 2016).
His first major story arc was "Night of the Owls", where Batman confronts the Court of Owls, a secret society that has controlled Gotham for centuries.
The second story arc was "Death Of The Family", where the Joker returns to Gotham and simultaneously attacks each member of the Batman family.
The third story arc was "Batman: Zero Year", which redefined Batman's origin in The New 52. It followed Batman #0 (published in June 2012), which explored the character's early years.
The final storyline before Convergence (2015) event was ''Endgame'', depicting the supposed final battle between Batman and the Joker when he unleashes the deadly Endgame virus onto Gotham City. The storyline ends with Batman and the Joker's supposed deaths.
Starting with Batman #41, Commissioner James Gordon took over Bruce's mantle as a new, state-sanctioned, mecha Batman, debuting in the Free Comic Book Day special comic ''DC Comics: Divergence #1''. However, Bruce Wayne is soon revealed to be alive, albeit now suffering almost total amnesia of his life as Batman and only remembering his life as Bruce Wayne through what he has learned from Alfred.
Eventually, Bruce returns to watching over Gotham once more in Batman (Vol. 2) #50 (May 2016).
In 2015, DC Comics also released Dark Knight III: The Master Race, the sequel to Frank Miller's The Dark Knight Returns and The Dark Knight Strikes Again.
2016
DC Rebirth is a 2016 relaunch by DC Comics of its entire line of ongoing monthly superhero comic books. Using the end of The New 52 initiative in May 2016 as its launching point, DC Rebirth restored the DC Universe to a form much like that prior to the "Flashpoint" storyline while still incorporating numerous elements of The New 52, including its continuity. It also saw many of its titles move to a twice-monthly release schedule. Beginning with an 80-page one-shot (May 2016), Rebirth also saw Action Comics and Detective Comics return to their previous numbering (#957 and #934, respectively), all books being released at US$2.99, multiple books being shifted to a twice-monthly release schedule, a number of existing titles being relaunched with new #1s, and the release of several new titles.
As for the initial price of US$2.99, DC revealed that per April 2017, all of the monthly titles released at the time would increase their price to US$3.99, with All-Star Batman continuing to maintain its US$4.99 price. To account for the price increase, each physical copy since then comes with a code to redeem a free digital copy of the title. DC also indicated that the bi-monthly titles would stay at the US$2.99 price point.
As for the initial price of US$2.99, DC revealed that per April 2017, all of the monthly titles released at the time would increase their price to US$3.99, with All-Star Batman continuing to maintain its US$4.99 price. To account for the price increase, each physical copy since then comes with a code to redeem a free digital copy of the title. DC also indicated that the bi-monthly titles would stay at the US$2.99 price point.
DC Universe Rebirth #1 (May 2016)
Following DC Universe: Rebirth #1, there have been ''Rebirth'' issues (one-shots) for the following titles:
- Aquaman: Rebirth #1
- Batman: Rebirth #1
- The Flash: Rebirth #1
- Green Arrow: Rebirth #1
- Green Lanterns: Rebirth #1
- Superman: Rebirth #1
- Titans: Rebirth #1
- Wonder Woman: Rebirth #1
- Batgirl & The Birds Of Prey: Rebirth #1
- Hal Jordan & The Green Lantern Corps: Rebirth #1
- The Hellblazer: Rebirth #1
- Justice League: Rebirth #1
- Nightwing: Rebirth #1
- Red Hood & The Outlaws: Rebirth #1
- Batman Beyond: Rebirth #1
- Blue Beetle: Rebirth #1
- Cyborg: Rebirth #1
- Deathstroke: Rebirth #1
- Earth 2: Rebirth #1
- Suicide Squad: Rebirth #1
- Supergirl: Rebirth #1
- Teen Titans: Rebirth #1
- Trinity: Rebirth #1 -> Cancelled
Batman: Rebirth #1 (June 2016)
After the ''Rebirth'' one-shots, every title in the DC Comics universe will relaunch with a new #1 issue, although, following the end of ''The New 52'', some titles will simply end, or will be replaced by another series.
Action Comics and Detective Comics will instead resume their classic numbering, picking up at #957 (Action Comics) and #934 (Detective Comics), adding all ''New 52'' issues to their total count.
For Detective Comics it looks like this:
881 + 52 = 933 issues in total. So, with ''DC Rebirth'', the first new Detective Comics (Vol. 3) issue is #934.
Action Comics and Detective Comics will instead resume their classic numbering, picking up at #957 (Action Comics) and #934 (Detective Comics), adding all ''New 52'' issues to their total count.
For Detective Comics it looks like this:
- Detective Comics (Vol. 1) (pre-Flashpoint) ran for 881 issues (1937-2011).
- Detective Comics (Vol. 2) (part of The New 52) ran for 52 issues (2011-2016).
881 + 52 = 933 issues in total. So, with ''DC Rebirth'', the first new Detective Comics (Vol. 3) issue is #934.
Detective Comics #934 (June 2016)
''DC: Rebirth'' Titles & Timetable
May 2016
• DC Universe Rebirth #1
June 2016
''REBIRTH'' SPECIALS:
• Aquaman Rebirth #1
• Batman Rebirth #1
• The Flash Rebirth #1
• Green Arrow Rebirth #1
• Green Lanterns Rebirth #1
• Superman Rebirth #1
• Titans Rebirth #1
• Wonder Woman Rebirth #1
NEW #1 ISSUES (SHIPPING TWICE MONTHLY):
• Aquaman #1
• Batman #1
• The Flash #1
• Green Arrow #1
• Green Lanterns #1
• Superman #1
• Wonder Woman #1
NEW ISSUES (SHIPPING TWICE MONTHLY):
• Action Comics #957
• Detective Comics #934
July 2016
''REBIRTH'' SPECIALS:
• Batgirl & The Birds Of Prey Rebirth #1
• Hal Jordan & The Green Lantern Corps Rebirth #1
• The Hellblazer Rebirth #1
• Justice League Rebirth #1
• Nightwing Rebirth #1
• Red Hood & The Outlaws Rebirth #1
NEW #1 ISSUES (SHIPPING TWICE MONTHLY):
• Hal Jordan & The Green Lantern Corps #1
• Justice League #1
• Nightwing #1
NEW #1 ISSUES (SHIPPING MONTHLY):
• Batgirl #1
• Batgirl & The Birds Of Prey #1
• The Hellblazer #1
• Red Hood & The Outlaws #1
• New Super-Man #1
• Titans #1
Fall 2016
''REBIRTH'' SPECIALS:
• Batman Beyond Rebirth #1
• Blue Beetle Rebirth #1
• Cyborg Rebirth #1
• Deathstroke Rebirth #1
• Earth 2 Rebirth #1
• Suicide Squad Rebirth #1
• Supergirl Rebirth #1
• Teen Titans Rebirth #1
• Trinity Rebirth #1 -> Cancelled
NEW #1 ISSUES (SHIPPING TWICE MONTHLY):
• Cyborg #1
• Deathstroke #1
• Harley Quinn #1
• Justice League America #1
• Suicide Squad #1
NEW #1 ISSUES (SHIPPING MONTHLY):
• All Star Batman #1
• Batman Beyond #1
• Blue Beetle #1
• Earth 2 #1
• Gotham Academy: Next Semester #1
• Supergirl #1
• Superwoman #1
• Super Sons #1
• Teen Titans #1
• Trinity #1
• DC Universe Rebirth #1
June 2016
''REBIRTH'' SPECIALS:
• Aquaman Rebirth #1
• Batman Rebirth #1
• The Flash Rebirth #1
• Green Arrow Rebirth #1
• Green Lanterns Rebirth #1
• Superman Rebirth #1
• Titans Rebirth #1
• Wonder Woman Rebirth #1
NEW #1 ISSUES (SHIPPING TWICE MONTHLY):
• Aquaman #1
• Batman #1
• The Flash #1
• Green Arrow #1
• Green Lanterns #1
• Superman #1
• Wonder Woman #1
NEW ISSUES (SHIPPING TWICE MONTHLY):
• Action Comics #957
• Detective Comics #934
July 2016
''REBIRTH'' SPECIALS:
• Batgirl & The Birds Of Prey Rebirth #1
• Hal Jordan & The Green Lantern Corps Rebirth #1
• The Hellblazer Rebirth #1
• Justice League Rebirth #1
• Nightwing Rebirth #1
• Red Hood & The Outlaws Rebirth #1
NEW #1 ISSUES (SHIPPING TWICE MONTHLY):
• Hal Jordan & The Green Lantern Corps #1
• Justice League #1
• Nightwing #1
NEW #1 ISSUES (SHIPPING MONTHLY):
• Batgirl #1
• Batgirl & The Birds Of Prey #1
• The Hellblazer #1
• Red Hood & The Outlaws #1
• New Super-Man #1
• Titans #1
Fall 2016
''REBIRTH'' SPECIALS:
• Batman Beyond Rebirth #1
• Blue Beetle Rebirth #1
• Cyborg Rebirth #1
• Deathstroke Rebirth #1
• Earth 2 Rebirth #1
• Suicide Squad Rebirth #1
• Supergirl Rebirth #1
• Teen Titans Rebirth #1
• Trinity Rebirth #1 -> Cancelled
NEW #1 ISSUES (SHIPPING TWICE MONTHLY):
• Cyborg #1
• Deathstroke #1
• Harley Quinn #1
• Justice League America #1
• Suicide Squad #1
NEW #1 ISSUES (SHIPPING MONTHLY):
• All Star Batman #1
• Batman Beyond #1
• Blue Beetle #1
• Earth 2 #1
• Gotham Academy: Next Semester #1
• Supergirl #1
• Superwoman #1
• Super Sons #1
• Teen Titans #1
• Trinity #1
New Logo
The new DC logo debuted on the cover of DC Universe: Rebirth #1 (May 2016).
“While comics continue to be the heart and soul of DC, the brand has evolved to now stand for powerful storytelling across so many different forms of media. DC is home to the greatest super-heroes and super-villains, and the new logo has the character and strength to stand proudly alongside DC’s iconic symbols,” stated Amit Desai, DC Entertainment Senior Vice President of Marketing and Global Franchise Management.
“The launch of the new logo is the perfect tribute to DC’s legacy, exciting future and most importantly, our fans.”
“While comics continue to be the heart and soul of DC, the brand has evolved to now stand for powerful storytelling across so many different forms of media. DC is home to the greatest super-heroes and super-villains, and the new logo has the character and strength to stand proudly alongside DC’s iconic symbols,” stated Amit Desai, DC Entertainment Senior Vice President of Marketing and Global Franchise Management.
“The launch of the new logo is the perfect tribute to DC’s legacy, exciting future and most importantly, our fans.”
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