History MediaNotes / TheIronAgeOfComicBooks

This zeitgeist of attempted plausibility and new found seriousness in superhero comic books is reflected in Creator/AlanMoore's ''[[{{Deconstruction}} Watchmen]]'' and Creator/FrankMiller's ''Comicbook/BatmanTheDarkKnightReturns'', both released in 1986. As well, the DC imprint Creator/VertigoComics also followed suit in tone, coming to its zenith with ''ComicBook/TheSandman1989'' in 1989. The turn to seriousness, especially in ''Comicbook/BatmanTheDarkKnightReturns'' also inspired the efforts of the ''Film/{{Batman|1989}}'' film in 1989 and ''WesternAnimation/BatmanTheAnimatedSeries'' in 1992.

The Iron Age of Comic Books is a different interpretation of comic history that sees the UsefulNotes/TheDarkAgeOfComicBooks and UsefulNotes/TheModernAgeOfComicBooks as one period. This age can be defined with its {{Retcon}}s, [[ContinuityReboot Reboots]], {{Retool}}s and {{Alternate Universe}}s that were deemed necessary after about fifty years of accumulated continuity threatening to create a ContinuityLockOut to new readers.

Speaking of ridiculous, Creator/MarvelComics was beginning to struggle majorly with its properties, especially ComicBook/SpiderMan, who was knee deep in the ContinuitySnarl that was the Clone Saga. Perhaps trying to find wiggle room continuity-wise and to provide sources of much needed revenue, Marvel created such shows as ''WesternAnimation/SpiderManTheAnimatedSeries'', ''WesternAnimation/XMenTheAnimatedSeries'', ''WesternAnimation/{{The Incredible Hulk|1996}}'' animated series, ''WesternAnimation/FantasticFourTheAnimatedSeries'' and ''WesternAnimation/IronManTheAnimatedSeries''. Perhaps encouraged with the success of these works set in a alternate continuity and the potential new audience that was fostered by it, they gave the new universe thing a try again in 2000 with ''ComicBook/UltimateMarvel'', and sales returned once again.

Speaking of ridiculous, Creator/MarvelComics was beginning to struggle majorly with its properties, especially ComicBook/SpiderMan, who was knee deep in the ContinuitySnarl that was the Clone Saga. Perhaps trying to find wiggle room continuity-wise and to provide sources of much needed revenue, Marvel created such shows as ''WesternAnimation/SpiderManTheAnimatedSeries'', the ''WesternAnimation/XMen'' animated series, ''WesternAnimation/TheIncredibleHulk1996'' animated series, the ''WesternAnimation/FantasticFour'' animated series and the ''WesternAnimation/IronMan'' animated series. Perhaps encouraged with the success of these works set in a alternate continuity and the potential new audience that was fostered by it, they gave the new universe thing a try again in 2000 with ''ComicBook/UltimateMarvel'', and sales returned once again.

This zeitgeist of attempted plausibility and new found seriousness in superhero comic books is reflected in Creator/AlanMoore's ''[[{{Deconstruction}} Watchmen]]'' and Creator/FrankMiller's ''Comicbook/BatmanTheDarkKnightReturns'', both released in 1986. As well, the DC imprint Creator/VertigoComics also followed suit in tone, coming to its zenith with ''ComicBook/TheSandman'' in 1989. The turn to seriousness, especially in ''Comicbook/BatmanTheDarkKnightReturns'' also inspired the efforts of the ''Film/{{Batman|1989}}'' film in 1989 and ''WesternAnimation/BatmanTheAnimatedSeries'' in 1992.

* ''Comicbook/{{Starman}}'', which started out as a spinoff of ''ComicBook/ZeroHourCrisisInTime'' but surpassed its originator in terms of quality. A thorough exploration of the LegacyCharacter concept that delved into DC's rich history like few comics before it and helped lead the way to UsefulNotes/{{the Modern Age|of Comic Books}}.

* ''Comicbook/CivilWar'', which combined a long-term change to the status quo of the Franchise/MarvelUniverse with an attempt at large-scale political commentary.

* ''Comicbook/BatmanTheDarkKnightReturns'': Not only did this affect comic books, but helped to shape a new, serious, plausible Franchise/{{Batman}} that was the basis of many film series and animated series.

* ''Franchise/{{Batman}}: [[ComicBook/BatmanYearOne Year One]]'' (Went hand-in-hand with ''Comicbook/BatmanTheDarkKnightReturns'' in defining Frank Miller's vision of the Caped Crusader)
** Other Dark Age ''Franchise/{{Batman}}'' stories include ''Comicbook/TheKillingJoke'', ''A Death in the Family'', and ''ComicBook/{{Knightfall}}''. The first modern ''Film/{{Batman|1989}}'' movie also came out during this era.

** Also by Morrison, ''[[ComicBook/AllStarDCComics All-Star]] [[ComicBook/AllStarSuperman Superman]],'' an AlternateUniverse take on Franchise/{{Superman}} that uses various Silver Age tropes to tell the story of a Superman who is nearing the end of his life. Also notable for the scene in which Superman punches out the Tyrant Sun.

* ''ComicBook/ZeroHour'': A 1994 CrisisCrossover from Creator/DCComics. Relatively tame by this page's standards, it was nonetheless about a [[UsefulNotes/TheSilverAgeOfComicBooks Silver Age]] hero's descent into madness, forcing his friends to fight and apparently kill him. Also featured the deaths of many surviving GoldenAge ComicBook/JusticeSocietyOfAmerica characters in a brutally quick and dismissive fashion.

* ''Comicbook/{{Starman}}'', which started out as a spinoff of ''ComicBook/ZeroHour'' but surpassed its originator in terms of quality. A thorough exploration of the LegacyCharacter concept that delved into DC's rich history like few comics before it and helped lead the way to UsefulNotes/{{the Modern Age|of Comic Books}}.

Speaking of ridiculous, Creator/MarvelComics was beginning to struggle majorly with its properties, especially ComicBook/SpiderMan, who was knee deep in the ContinuitySnarl that was the Clone Saga. Perhaps trying to find wiggle room continuity-wise and to provide sources of much needed revenue, Marvel created such shows as ''WesternAnimation/SpiderManTheAnimatedSeries'', the ''WesternAnimation/XMen'' animated series, WesternAnimation/TheIncredibleHulk1996 animated series, the ''WesternAnimation/FantasticFour'' animated series and the ''WesternAnimation/IronMan'' animated series. Perhaps encouraged with the success of these works set in a alternate continuity and the potential new audience that was fostered by it, they gave the new universe thing a try again in 2000 with ''ComicBook/UltimateMarvel'', and sales returned once again.

Speaking of ridiculous, Creator/MarvelComics was beginning to struggle majorly with its properties, especially ComicBook/SpiderMan, who was knee deep in the ContinuitySnarl that was the Clone Saga. Perhaps trying to find wiggle room continuity-wise and to provide sources of much needed revenue, Marvel created such shows as ''WesternAnimation/SpiderManTheAnimatedSeries'', the ''WesternAnimation/XMen'' animated series, WesternAnimation/TheIncredibleHulk animated series, the ''WesternAnimation/FantasticFour'' animated series and the IronMan animated series. Perhaps encouraged with the success of these works set in a alternate continuity and the potential new audience that was fostered by it, they gave the new universe thing a try again in 2000 with ''ComicBook/UltimateMarvel'', and sales returned once again.

** Also by Morrison, ''[[ComicBook/AllStarDCComics All-Star]] [[ComicBook/AllStarSuperman Superman]],'' an AlternateUniverse take on {{Superman}} that uses various Silver Age tropes to tell the story of a Superman who is nearing the end of his life. Also notable for the scene in which Superman punches out the Tyrant Sun.

* ''Comicbook/CivilWar'', which combined a long-term change to the status quo of the MarvelUniverse with an attempt at large-scale political commentary.

This effort with animation from both DC and Marvel helped spawn the new flow of superhero blockbusters, including the ''SpiderMan'' films, ''Film/TheDarkKnightSaga'', and ''Film/{{Watchmen}}'', among others. The Iron Age carries probably some of the greatest public awareness of superheroes than any other age due to the nice fresh starts, many an animated series, and successful blockbusters all getting the word out about this medium, fostering a new generation of ComicBook fans.

Speaking of ridiculous, Creator/MarvelComics was beginning to struggle majorly with its properties, especially SpiderMan, who was knee deep in the ContinuitySnarl that was the Clone Saga. Perhaps trying to find wiggle room continuity-wise and to provide sources of much needed revenue, Marvel created such shows as ''WesternAnimation/SpiderManTheAnimatedSeries'', the ''WesternAnimation/XMen'' animated series, WesternAnimation/TheIncredibleHulk animated series, the ''WesternAnimation/FantasticFour'' animated series and the IronMan animated series. Perhaps encouraged with the success of these works set in a alternate continuity and the potential new audience that was fostered by it, they gave the new universe thing a try again in 2000 with ''ComicBook/UltimateMarvel'', and sales returned once again.

The Iron Age of Comic Books is a different interpretation of comic history that sees the UsefulNotes/TheDarkAgeOfComicBooks and UsefulNotes/TheModernAgeOfComicBooks as one period. This age can be defined with its {{Retcon}}s, {{Reboot}}s, {{Retool}}s and {{Alternate Universe}}s that were deemed necessary after about fifty years of accumulated continuity threatening to create a ContinuityLockOut to new readers.

** Also by Morrison, ''[[ComicBook/AllStarDCComics All-Star]] [[ComicBook/AllStarSuperman Superman]],'' an AlternateUniverse take on {{Superman}} that uses various Silver Age tropes to tell the story of a Superman who is nearing the end of his life. Also notable for the scene in which [[CrowningMomentOfAwesome Superman punches out the Tyrant Sun.]]

-->--''Film/{{Superman}}'' Tagline

This zeitgeist of attempted plausibility and new found seriousness in superhero comic books is reflected in Creator/AlanMoore's ''[[{{Deconstruction}} Watchmen]]'' and Creator/FrankMiller's ''Comicbook/BatmanTheDarkKnightReturns'', both released in 1986. As well, the DC imprint Creator/VertigoComics also followed suit in tone, coming to its zenith with ''ComicBook/TheSandman'' in 1989. The turn to seriousness, especially in ''Comicbook/BatmanTheDarkKnightReturns'' also inspired the efforts of the Film/{{Batman}} film in 1989 and ''WesternAnimation/BatmanTheAnimatedSeries'' in 1992.

* ''ThePunisher'' (This pre-existing ultra-violent AntiHero VigilanteMan's stock went way, way up)

** Other Dark Age ''Franchise/{{Batman}}'' stories include ''Comicbook/TheKillingJoke'', ''A Death in the Family'', and ''ComicBook/{{Knightfall}}''. The first modern Film/{{Batman}} movie also came out during this era.
* ''{{Wolverine}}'', like the Punisher and Batman, was a preexisting hero who attained new heights of popularity because he fit the grim and gritty trend; his regular series began in 1988, and WolverinePublicity spread like Kudzu.

* Grant Morrison's ''[[JusticeLeagueOfAmerica JLA]]'', which brought back the bright, shiny heroes in huge, epic plots. Began in 1997, one year after ComicBook/KingdomCome, and helped to [[TropeCodifier Codify]] many of the concepts and trends introduced by ComicBook/KingdomCome, and did more to [[{{Reconstruction}} Reconstruct]] the Main DCU than any other series.

Speaking of ridiculous, Creator/MarvelComics was beginning to struggle majorly with its properties, especially SpiderMan, who was knee deep in the ContinuitySnarl that was the Clone Saga. Perhaps trying to find wiggle room continuity-wise and to provide sources of much needed revenue, Marvel created such shows as ''WesternAnimation/SpiderManTheAnimatedSeries'', the ''WesternAnimation/XMen'' animated series, the IncredibleHulk animated series, the ''WesternAnimation/FantasticFour'' animated series and the IronMan animated series. Perhaps encouraged with the success of these works set in a alternate continuity and the potential new audience that was fostered by it, they gave the new universe thing a try again in 2000 with ''ComicBook/UltimateMarvel'', and sales returned once again.

* ''{{Spawn}}'' (The scion of Creator/{{Image}} and the model for its many imitators)

Perhaps because of the new blank slate attitude that prevailed ComicBook/PostCrisis, new comic book companies remerged, like Creator/DarkHorseComics in 1986 and Creator/ValiantComics in 1989. They published such acclaimed works as ''ComicBook/{{Hellboy}}'' and ''ComicBook/SinCity'', as well as releasing works like ''Manga/{{Akira}}'', perhaps because this tone of serious and plausible now matched Japan's similar sense of serious and plausible, not to mention [[JapanTakesOverTheWorld the economic success of Japan at the time as well.]] Other new companies include Creator/ImageComics founded in 1992, which was a major TropeCodifier for the NinetiesAntiHero, in {{Spawn}} and most of Rob Liefeld's work. However these excesses quickly collapsed somewhere around 1996 due in part to the UsefulNotes/TheGreatComicsCrashOf1996.

* ''Comicbook/{{Starman}}'', which started out as a spinoff of ''ComicBook/ZeroHour'' but surpassed its originator in terms of quality. A thorough exploration of the LegacyCharacter concept that delved into DC's rich history like few comics before it and helped lead the way to the ModernAge.

The Iron Age of Comic Books is a different interpretation of comic history that sees the UsefulNotes/TheDarkAgeOfComicBooks and TheModernAgeOfComicBooks as one period. This age can be defined with its {{Retcon}}s, {{Reboot}}s, {{Retool}}s and {{Alternate Universe}}s that were deemed necessary after about fifty years of accumulated continuity threatening to create a ContinuityLockOut to new readers.

This zeitgeist of attempted plausibility and new found seriousness in superhero comic books is reflected in Creator/AlanMoore's ''[[{{Deconstruction}} Watchmen]]'' and Creator/FrankMiller's ''Comicbook/BatmanTheDarkKnightReturns'', both released in 1986. As well, the DC imprint VertigoComics also followed suit in tone, coming to its zenith with ''ComicBook/TheSandman'' in 1989. The turn to seriousness, especially in ''Comicbook/BatmanTheDarkKnightReturns'' also inspired the efforts of the Film/{{Batman}} film in 1989 and ''WesternAnimation/BatmanTheAnimatedSeries'' in 1992.

Perhaps because of the new blank slate attitude that prevailed ComicBook/PostCrisis, new comic book companies remerged, like Creator/DarkHorseComics in 1986 and ValiantComics in 1989. They published such acclaimed works as ''ComicBook/{{Hellboy}}'' and ''ComicBook/SinCity'', as well as releasing works like ''Manga/{{Akira}}'', perhaps because this tone of serious and plausible now matched Japan's similar sense of serious and plausible, not to mention [[JapanTakesOverTheWorld the economic success of Japan at the time as well.]] Other new companies include Creator/ImageComics founded in 1992, which was a major TropeCodifier for the NinetiesAntiHero, in {{Spawn}} and most of Rob Liefeld's work. However these excesses quickly collapsed somewhere around 1996 due in part to the UsefulNotes/TheGreatComicsCrashOf1996.

Franchise/TheDCU released ComicBook/CrisisOnInfiniteEarths in 1985, a CrisisCrossover that created the ComicBook/PostCrisis universe that removed [[UsefulNotes/TheSilverAgeOfComicBooks the Silver Age's]] [[ShooOutTheClowns excesses]], in an attempt to make the stories more serious and plausible now given the opportunity to do so. Creator/JimShooter tried to mirror a move to realistic seriousness in MarvelComics with ComicBook/TheNewUniverse imprint, but this did not have good critical reaction at the time and thus Marvel would have to try again later. They did put in their effort, the ComicBook/NewMutants, as a part of the cultural atmosphere of the time, but this was not nearly as ground breaking of an effort as ComicBook/TheNewUniverse was.

Speaking of ridiculous, MarvelComics was beginning to struggle majorly with its properties, especially SpiderMan, who was knee deep in the ContinuitySnarl that was the Clone Saga. Perhaps trying to find wiggle room continuity-wise and to provide sources of much needed revenue, Marvel created such shows as ''WesternAnimation/SpiderManTheAnimatedSeries'', the ''WesternAnimation/XMen'' animated series, the IncredibleHulk animated series, the ''WesternAnimation/FantasticFour'' animated series and the IronMan animated series. Perhaps encouraged with the success of these works set in a alternate continuity and the potential new audience that was fostered by it, they gave the new universe thing a try again in 2000 with ''ComicBook/UltimateMarvel'', and sales returned once again.