Abel, Jack, 40
Action Comics #1, 5–6
Adams, Neal
on compensation in comics industry, 140
on DC and Marvel superheroes, 23
and DC/Marvel crossover, 88
on DC’s experimentation, 58
on DC’s hiring Joe Simon, 54
and Green Lantern heroin cover, 77
hired by DC, 48–50
invites artist friends to DC, 52
works for Marvel, 59–60
adults, as comic book audience, x–xi, 156, 159, 185, 219
Adventures of Superman (TV show), 125
Adventures of Superman #500, 177–178
Agents of S.H.I.E.L.D., 240
Alias, 201
Alyn, Kirk, 124
Amalgam, 188–189
Amazing Spider-Man, The, 76–77, 165–167
American News Company, 15
antihero concept, 22
Arad, Avi, 190
Arak, Son of Thunder, 113
Archie Meets the Punisher, 183
Arlington, Gary, 133
Arrow (TV series), 239
Atlas News Company, 15
Augustyn, Brian, 38, 55, 153, 175, 200, 210
Avengers, The, 29, 119–121, 202–205
Ayer, David, 215–216, 237, 238
Azrael, 206
Barr, Mike W., 107, 123, 138–139
Bates, Cary, 106
Batman
adapted for TV and film, 124, 125, 131, 162–163, 219–220, 225–227, 234–236
The Dark Knight Returns, x, 155–157
debut of, 7
“Knightfall,” 175
longevity of, 8–9
merchandising and, 162–163
and modernization of DC, 56–57
new look for, 37
sexual content in, 103
Batman (movie), 162–163
Batman (TV show), 131
Batman & Robin, 219–220
Batman Begins, 225–227
Batman v Superman: Dawn of Justice, 234–236
Bedner, Lauretta, 20
Beerbohm, Robert, 42–43, 73–74, 112, 134, 177
Bendis, Brian Michael, 154, 208–209
Berg, John, 238
Beyonder, 150
Binder, Otto, 52
Bissette, Steve, 108, 153, 158, 165, 182, 220, 241
Blackhawk, 55
Blade, 220
Blake, Len, 21
Blockbuster, 70
bonuses, 171
Brotherhood of Evil, 31–32
Brother Power the Geek, 54, 57
Budiansky, Bob, 170, 171, 175, 176, 210
Byrne, John, 19, 25, 111, 153–154, 210
Cadence Industries, 163
Camelot 3000, 138–139
Cameron, James, 221
Cannon Group, 223
Captain America (1992 movie), 218
Captain America (TV show), 125
Captain America, revival of, 25
Captain America: Civil War, 234–235, 236
Captain America: The First Avenger, 230
Captain Marvel, 78–80
Castellini, Claudio, 186
Catwoman, 225
Champions of Angor, 87
Chaykin, Howard, 52
Cimino, John, 85
Claremont, Chris
on Adams’s X-Men, 60
on DC-Marvel rivalry, 252
on DC’s sales slump, 116
on Lee as editor-in-chief, 109
on New Teen Titans, 115
returns to Marvel, 211–212
and Uncanny X-Men, 111
cliffhangers, 25
Cockrum, Dave, 110–111
Colletta, Vinnie, 68–69, 71, 97, 104–105
Comic Art Convention, 134–135
comic book events, 151–52, 173–175
comic books
attack on, 7–8
audience of, x–xi, 138–139, 156, 159, 185, 219
booms and busts in industry, 161–162
downturn in market for, 58–59, 131–132, 177–179, 216, 252–254
innovation in, xiii
as interactive, 83–84
as investments, 176–177
Marvel’s approach to, xviii–xx, 18–23
movies’ impact on sales, 131–132
returnability of, 135
trends in, 8–9
comic book specialty stores, 133–140, 176–177, 178
comic fandom
and comic book events, 151–152
enthusiasm of, 134–135
as target audience, 138–139
Comics Code Authority, 75–77, 201–202
compensation for comics creators, 140–141, 170–171, 241–242
computer coloring, 180
Conan the Barbarian, 113
Conklin, Bruce, 152
conservatism, 4–5, 7–8, 102–104, 138–139, 156, 158, 192–193
contact information, 211
continuity problems, 36, 147–149
contracts, 209–212
Convergence, 246–247
Conway, Gerry
on Crisis on Infinite Earths, 151
on Infantino’s leaving DC, 97
and Man-Thing debut, 78
on Marvel sensibility at DC, 53
on Marvel’s success, 75
returns to DC, 107
and Superman vs. The Amazing Spider-Man, 92–93, 94
on television adaptations, 126
on Vinnie Colletta, 71
covers
design of, 47–48
gimmick, 169–170
credits, 39–40
Creeper, The, 53–54
Crisis on Infinite Earths, 148–149, 150–153
crossovers
and DC-Marvel rivalry, 117–121
early unofficial, 85–89
failed attempts at, 205, 208–209
future of, 252
JLA/Avengers, 119–121, 202–205
during market crash, 182–189
official, 89–91
Superman vs. The Amazing Spider-Man, 91–96
Curtis Circulation, 43
Daley, Don, 183
Daredevil, 139–140
Dark Knight Returns, The, x, 155–157
Dave’s Comics, ix–x
David, Peter, 40, 116, 187, 192, 195, 232, 245–246
Dazzler, 137
DC Comics
adaptation of superheroes for screen, xi, 123–125, 215–220, 223–227, 229–238
approach to filmmaking, 229–234
and attack on comic books, 7–8
beginnings and success of, 5–7
Captain Marvel problem, 79–80
cohesiveness of brand, 230–231
cohesiveness of universe, 35–36
as comic book leader, xiii–xiv
and competition for talent, 40–42, 48–53, 59–61, 112–114, 141–143, 153–154, 209–213
conservatism of, 4–5, 102–104, 138–139, 156, 158, 192–193
continuity problems of, 36, 147–151
cover design of, 47–48
crossovers, 24, 35–36, 85–96, 117–121, 182–189, 202–205, 208–209, 252
and “The Death of Superman,” 173–175
and direct market, 135, 136, 138–139
and downturn in comic book sales, 58–59, 252–254
eases out veteran writers, 52–53
editors of, 2–4, 24, 50, 101–102
and fan rivalry, 84–85
fate hinges on Superman movie, 123
impact of corporate ownership on, 243–247, 251–252
impact of Marvel-Heroes world merger on, 181–182
increases production, 75–76
and intercompany jabs, 191–193
Kahn joins, 100–101
Kirby goes to, 63–68
Lee considers going to, 72–73
licenses characters to Marvel, 143–145
logo of, 105–106
management change at, 46–47
Marvel challenges, xv–xx, 27–29
and Marvel’s withdrawal from Comics Code Authority, 201–202
merchandising and, 162–163
modernization of, 53–58
new approach of, 37–38
and New Teen Titans, 114–116
offers to buy Atlas characters, 15
poaches Stan Lee, 212–213
price war with Marvel, 73–74
printing techniques of, 139–140
reaction to Marvel bankruptcy, 189
rejuvenation of, 101–8, 153–160
releases Doom Patrol, 30–31
restructuring of, 231–232
and revival of comic book series, 9–11
rivalry with Marvel, 33–35, 38–40, 116–121, 197–200, 205–209, 215–216, 244, 247–248, 255–257
royalties and bonuses at, 140–141, 171–172, 241–242
sold to Kinney National Service, 45–46
spying between Marvel and, 69–71
storytelling style of, 23
television adaptations, 239–240
tries to buy Malibu, 178–179
and Uncanny X-Men, 110–111
unexciting content of, 99–100
and variant covers, 168–170
visual style of, 26
DC Explosion, 107–108
DC Implosion, 108
Deadman, 49
Deadpool, 236–237
Death, 192
“Death of Superman, The,” 173–175
DeFalco, Tom
and Archie Meets the Punisher, 183
on crossovers, 184
on Dazzler sales, 137
on direct market, 147
on Heroes World purchase, 181
on Justice League/Avengers crossover, 119
as Marvel editor-in-chief, 160
and Marvel-Malibu merger, 179–180
practical joke on, 251
on Spider-Man movie, 223–224
Deighan, Vincent, 211
DeMatteis, J. M., 157
Detective Comics, Inc., 5
Detective Comics #1, 5
Diamond, 182
Diaz, Ruben, 171, 172–173, 192, 210–211, 222
Direct Currents, 38–39
direct market, 133–140
Donenfeld, Irwin, xv, 8, 9, 28, 34, 35, 46
Dooley, Kevin, 175
Doom Patrol, 30–32
Dozier, William, 127
Drake, Arnold, 27–28, 30, 31, 32, 34–35, 52–53, 54, 140
drugs, 76–77
Ebert, Roger, 130
Edelman, Scott, 39
Ellsworth, Whit, 103
Emmett, Jay, 96
Englehart, Steve
and conservatism of DC, 104
and DC/Marvel crossover, 88–89
on Marvel corporate structure, 246
on Marvel covers, 48
on Marvel’s success, 75
poached by DC, 102–103
on price war, 74
on royalties, 241
Ennis, Garth, 197
espionage, 69–71
Esposito, Mike, 40
Evanier, Mark
on crossover suggestion, 85
on DC cancelations, 58
on DC covers, 47
on DC editors, 4
on DC’s learning from Marvel, xvi
on DC’s losing Novick, 209
on Kirby’s going to DC, 65, 66
on Kirby’s paranoia, 69
on Marvel’s early years, 14
on modernization of DC, 55
on Showcase #1, 9
and spying between DC and Marvel, 70
exclusive contracts, 209–212
Extremists, 191–192
Fagan, Tom, 88
fan culture, 83–85
Fantastic Four (comic), xiv, xvii, 18–20, 21, 24–25
Fantastic Four (movie), 218
Fawcett Comics, 78–79
Fear Itself, 247
Feige, Kevin, 215, 232, 233, 235, 236
Finger, Bill, 52
First Comics, 145
Flash (comic), 10–11
Flash, The (TV series), 239
Flashpoint, 247
freelance page rates, 90
Friedman, Rob, 129
Friedrich, Mike
on Batman makeover, 156
on changes to Kirby’s work, 72
and DC/Marvel crossover, 86–88
on DC offices, 2
on DC versus Marvel stories, 23
and direct market, 136
hired by DC, 51
on Kirby’s going to DC, 65
on Marvel and DC in 1960s, 11
on pressure on Infantino, 48
and Uncanny X-Men, 110–111
on vote to shut down DC, 59
Gabriel, David, 247
Gafford, Carl, 93
Galton, Jim, 144
Gambaccini, Paul, 33
García-López, José Luis, 186
Giffen, Keith, 169, 191–192, 247
Gillis, Peter, 26
gimmicks, 169–170
Giordano, Dick
on comic book distribution, 132
hired by DC, 50
on image of DC, 152–153
on Justice League/Avengers crossover, 120
on Kirby’s going to DC, 63
on new writers, 51
on royalty plan, 141
and Superman vs. The Amazing Spider-Man, 94
and Warrior, 158
Glaser, Milton, 105–106
go-go checks, 34
Goldberg, Stan, 26
Goodman, Martin
business strategy of, 13–14
and debut of Spider-man, 22
and price war, 73
retirement of, 89
sells Marvel, 42–43
Stan Lee’s relationship with, 72
and success of Marvel, 15–18, 75
and X-Men debut, 30
Greenberg, Glenn, 181, 183, 191, 198
Greenberger, Bob
on Crisis on Infinite Earths, 150
and crossover deal, 205
on DC editors, 24
on DC’s clean content, 8
on direct market, 136
on Infantino, 57–58
on Origin, 201
Green Lantern/Green Arrow, 37, 77, 175
Griepp, Milton, 137, 159–160, 233, 244, 247–248
Gruenwald, Mark, 186
Hammond, Nicholas, 126
Hanley, Tim, 56
Harras, Bob, 167, 190–191, 197
Harris, Jack C., 104, 105, 143
Hart, Kevin, 253
Hawk and the Dove, The, 54, 57
Heroes World, 180–182
Hibbs, Brian, 169, 177–178, 182, 208, 244–245, 254
History of the DC Universe, The, 148–149
Hobson, Mike, 43, 120, 137, 140, 163, 178
Horn, Alan, 226
Howard the Duck, 218
Hoyle, Jonathan, 84
Identity Crisis, 207
Image, 178
imitation, 13–15, 31–32, 49, 69
Incredible Hulk, The (comic), 165
Incredible Hulk, The (TV show), 126, 127
Infantino, Carmine
baffled by Marvel’s success, xv, xvi
on changing artist’s work, 66
on Code Authority approval, 76
on DC’s go-go checks, 34
on Kane leaving DC, 57
and Kirby’s going to DC, 63–64, 72
management style of, xviii, 57–58
on Marvel’s preferential treatment, 43
and Marvel’s success, 29
on price war, 74
put in charge of DC, 46
reaction to Adams’ working for Marvel, 60
relationship with Lee, 89–90
and spying between DC and Marvel, 70, 71
on Superman script, 128
and Superman vs. The Amazing Spider-Man, 92–93, 95–96
and Weisinger’s retirement, 61
Infantino, Jimmy, 63
interactivity, 83–84
Iron Man, 22
Iron Man (movie), 228–229
Jackman, Hugh, 231
Jackson, Samuel L., 253
Javins, Marie, 211
Jemas, Bill, 196–202, 205, 206–208, 209
Jenkins, Barry, xix
JLA/Avengers, 119–121, 202–205
Johnson, Dwayne “The Rock,” 217
Jurgens, Dan, 186
Justice League Europe, 191–192
Justice League of America, 36, 119–121, 202–205
Just Imagine, 212–213
Kahn, Jenette
and adaption of superheroes for screen, 224, 225
Bissette on, 153
on comic book audience, 219
hired by DC, 100–101
and New Teen Titans, 114
nixes Superman marriage, 173
offers royalties, 140
overhauls DC universe, 151
poaches Marvel talent, 141–142
on Ronin, 143
shakes up DC, 101–102, 104–107
Kalish, Carol, 133, 144, 152, 169
Kaminsky, Howard, 91
Kane, Bob, 57, 162–163, 212, 217
Kanigher, Robert, 4, 10, 33, 209
Kashdan, George, 50–51
Katzman, Sam, 124
Kempton, Sally, 22
Kinberg, Simon, 239
Kinney National Service, 45–46
Kirby, Jack, 18–19, 25–26, 63–72, 109–110
Koblish, Scott, 136, 168, 171, 195, 248
Kraft, David Anthony, 20, 40, 92, 100, 109–110
Kubert, Adam, 210
Kubert, Andy, 210
Kubert, Joe, 50
Kung-Fu Fighter, 99
Kupperberg, Paul, 30, 56, 101, 104, 129, 130–131, 136, 176
Landau, Al, 93–94
Larsen, Erik, 178
League of Extraordinary Gentlemen, The, 192
Lee, Stan
Bissette on, 153
and cliffhangers, 25
and cohesiveness of Marvel brand, 23–24
and content of various comics, 76–77, 103–104
and creation of Avengers, 29
on credits in comics, 39–40
on DC Explosion, 107
and DC-Marvel rivalry, 33, 49, 198
on DC’s name, 105
diminished day-to-day involvement of, 108
on fan interaction, 84
Funky Flashman based on, 67–68
on imitation/plagiarism accusation, 32, 49
influence on DC comics, 57
on Iron Man, 22
and Man-Thing/Swamp Thing rivalry, 78
and Marvel’s early years, xiv, 13
on Marvel’s success, xvii
on Marvel’s visual style, 26
and movie adaptations, 217
personality of, 33
refuses to cut production, 76
on rejuvenation of DC, 157
relationship with Infantino, 89–90
on Spider-Man movie, 223
and staffing, 41–42, 59–60, 61, 64
and superhero resurgence, 17–19
on Superman movie, 131
and Superman vs. The Amazing Spider-Man, 83, 91, 95
on television adaptations, 125, 126
tries to buy Marvel, 196
vision for Marvel, 230
and Wundarr, 80
and X-Men debut, 30
and X-Men movie, 220–221
Legends of the Dark Knight, 168–169
Legends of Tomorrow (TV series), 239
Levitz, Paul
on Batman Begins, 226
and DC-Malibu merger, 178–179
and DC-Marvel rivalry, 206
on “The Death of Superman,” 174
on direct market, 135, 136, 138
as editorial coordinator, 104
impact of departure of, 244–245
on intercompany jabs, 191
Jemas’s antagonism of, 198–199
and Marvel’s withdrawal from Comics Code Authority, 201–202
and pay discrepancy between DC and Marvel, 172
on rejuvenation of DC, 157
on Ronin, 142
on staffers leaving Marvel for DC, 113
and Superman and Spider-Man, 118
on Superman movie, 130
on Swamp Thing licensing, 158
on trade paperbacks, 159
licensing, 79, 143–145, 158, 203
Lieber, Larry, 70
Liebowitz, Jack, 5, 16, 17, 45–46, 47, 52–53, 57
Lyons, Robert, 250
Maisel, David, 227–228
Malibu, 178–180
Man of Steel (movie), 232–233, 235
Man of Steel, The (comic), 154–155, 168
Man-Thing, 78
Mantis, 89
Marden, Scott, 189
Marston, William Moulton, 7
martial arts, 99–100
Marvel Comics
adaptation of superheroes for screen, xi, 125–126, 217–231, 234–235, 240, 242
approach to filmmaking, 229–234
bankruptcy of, 189–191, 195–196
Captain Marvel problem, 79–80
challenges facing, 108–110
cohesiveness of brand, 23–25
and comic book events, 175–176
as competition for DC, xv–xix, 27–29
and competition for talent, 40–42, 59–61, 112–114, 141–143, 153–154, 191–193, 209–213
conservatism of, 103–104
cover design of, 47–48
crossovers, 85–96, 117–121, 182–189, 202–206, 208–209, 252
DC licenses characters to, 143–145
and direct market, 135–138
and downturn in comic book sales, 252–254
and fan rivalry, 84–85
growth of, 42
impact of corporate ownership on, 243–247, 251–252
increases production, 75–76
internal issues at, 160
under Jemas, 196–202, 207–208, 209
Kirby leaves, 63–65
leaves Comics Code Authority, 201–202
as market leader, 110–112, 116
market share of, 254
mergers and purchases, 42–43, 179–182, 231, 252
new approach to storytelling, xviii–xx, 18–23
new strategy of, 164–170
official crossovers with DC, 89–96
passes DC in sales, 74–75
Perelman’s purchase of, 163–164
price war with DC, 73–74
printing techniques of, 139–140
produces its own movies, 227–230
reboots of, 249–250
rivalry with DC, 33–35, 38–40, 116–121, 197–200, 205–209, 215–216, 244, 247–248, 255–257
royalties and bonuses at, 141, 171–172, 242
Shooter as editor-in-chief at, 110, 112
spying between DC and, 69–71
success of, 172–173
and superhero resurgence, 15–19
television adaptations, 240
visual style of, 25–26
Marvel Comics #1, 13–14
Marvel/DC: Super War, 185–188
Marvel Films, 218–219
Marvelman, 157–158
Marvel Now!, 249
Marvels, 203
Marvel Super Heroes, The, 125
Marvel Super Heroes Secret Wars, 149–152
Marville, 199
Marz, Ron, 182–183, 186–187, 242, 245, 247
Max, 201
McCarthy, Ray, 211
McNeil, Darrell, 110
Melniker, Benjamin, 162
Meltzer, Brad, 207
Men in Black, 220
Meyer, Barry, 232
M. F. Enterprises, 79
MGM’s Marvelous Wizard of Oz, 90
Michaels, Smith, 154
Milgrom, Al, 154
Millar, Mark, 198
Miller, Frank, x, 139–140, 142–143, 155–156
Mitchell, Steve, 1–2
monsters, 77–78
Moore, Alan, 19, 25, 157–159, 192
Moore, Stuart, 159, 197, 202, 206, 209
Morrison, Grant, 55, 171, 191, 211, 216
movies
adaptation of superheroes for, xi, 123–132, 216–231, 234–240, 242
cohesiveness of DC brand, 230–231
and DC-Marvel rivalry, xi, 215–216, 232–236
and DC reorganization, 231–232
failures and challenges, 217–220, 223–224, 237–238
Marvel’s versus DC’s approach to, 229–234, 238
possibility for success in, 219–227, 238–239
produced directly by Marvel, 227–230
profitability of, 216–217
royalties for, 241–242
My Greatest Adventure #80, 30–31
Mystery in Space, 36
National Allied Publications, 5–6
National Periodical Publications, 105. See also DC Comics
New Fun Comics, 5
New Teen Titans, 114–116
Newton, Rick, 71
New World Pictures, 163
Nocenti, Ann, 111, 142, 164, 170, 242, 251–252
Nolan, Christopher, 226–227, 232
Nolan, Graham, 184
North, Sterling, 7
Novick, Irv, 209
office tours, 84
Omega Men, The, 139
O’Neil, Denny
on Captain Marvel, 80
The Creeper and, 54
on DC editors, 24
on DC management, 53
and DC/Marvel crossovers, 86–87, 88
on DC’s name, 105
on Frank Miller, 139
and Green Lantern heroin cover, 77
hired by DC, 51
on Lee’s influence on DC, 57
on Lee’s vision for Marvel, 230
on Marvel’s success, 75
pitches martial arts series, 99–100
on rejuvenation of DC, 106
on royalty plan, 141
on staffers leaving Marvel for DC, 112
Ordway, Jerry, 80, 153, 173, 174, 213, 244
Origin, 200–201
Pacheco, Carlos, 190
Palmer, Tom Jr., 196, 209, 226
Perelman, Ronald, 163–164, 168, 171, 179, 183, 189
Perez, George, 114, 115, 119, 120, 149, 155, 203, 204
Perfect Film and Chemical Corporation, 42–43, 163
Perlmutter, Ike, 190, 212, 228
phone numbers, 211
Pittarese, Frank, 170, 190, 207, 245, 250
Plant, Bud, 143
Power of Shazam, The, 80
Pozner, Neal, 170
price increases and price wars, 59, 73–74, 106–107, 116–117, 164
Purcell, Dick, 125
Puzo, Mario, 128
Quesada, Joe, 197, 199–200, 205–206, 208–209, 249
Quitely, Frank, 211
Raimi, Sam, 224
Raspler, Dan, 101, 170, 172, 191, 193, 199, 206
Rebirth initiative, 250–251
reboots, 16, 56, 227, 232–233, 248–251
Reeves, George, 125
Rhoades, Shirrel, 185, 190, 196, 207, 210, 212, 213, 222
Rivera, Jules, 251
Robbins, Frank, 90
Romita, John Sr., xv, xvi, 22, 49, 126, 165
Rood, John, 249
Rosenberg, Scott, 178–179, 220
royalties, 140–141, 170–171, 241–242
Roy’s Memory Shop, 133
Rozakis, Bob
on cover gimmicks, 170
on DC house style, 52
on DC-Marvel rivalry, xviii
on disinterest in comic books, 132
on failure of DC Explosion, 107
on Infantino’s poaching Conway, 93
on Justice League/Avengers crossover, 120
on Kahn, 102
on Kirby’s impact on DC, 72
on New Teen Titans, 115
and spying between DC and Marvel, 70
Rubinstein, Joe, 4, 68–69, 95, 96–97, 142
Ruffalo, Mark, 127
Russo, Anthony, 236
Russo, Joe, 236
Saffel, Steve, 138
Sale, Tim, 211
San Francisco Comic Book Company, 133
Sarnoff, Bill, 100–101, 143–144
Sassa, Scott, 190
Schigiel, Gregg, 167, 196, 206, 211
Schreff, David, 185
Schwartz, Julius, 3–4, 10, 26, 72, 77, 87–88
Severin, Marie, 48
sexual content, 102–104
Shooter, Jim
on Crisis on Infinite Earths, 151
and crossovers, 117–118
on DC continuity, 147
on DC-Marvel rivalry, 116, 117
on DC offices, 2
on DC’s confusion over Marvel’s success, xvi, xviii
and direct market, 136
fired from Marvel, 160
introduces Marvel sensibility to DC, 37–38
and Justice League/Avengers crossover, 119–120
and licensing of DC characters, 143–144, 145
on The Man of Steel, 155
as Marvel editor-in-chief, 110, 112
on Marvel’s success, 112
and Marvel Super Heroes Secret Wars, 149, 150
mocks DC comics, 99
on price increase, 117
on rejuvenation of DC, 106
on Ronin, 143
on royalty plan, 141
and staffing, 113–114, 141–142
on superior mentality of DC, 8
on Weisinger, 3
works for Marvel, 60–61
Showcase, 9–10
Siegel, Jerry, xiii, 1, 5, 6, 124
Silberkleit, Michael, 201, 202
Simon, Joe, 54
Simonson, Walt, 192
Skeates, Steve, 51
Skinn, Dez, 158
Skroce, Steve, 210–211
Skrull Kill Krew, 191
Smallville, 239
Smith, Kevin, 197
Snyder, Zack, 232–233, 234, 238
social media, 244
softball games, 117
specialty stores, 133–140, 176–177, 178
Spider-Man
adapted for television, 125–126
The Amazing Spider-Man, 76–77, 165–167
debut of, 22
insulted in Batman comic, 33
Superman and Spider-Man, 117–118
Superman vs. The Amazing Spider-Man, 91–96
“The Clone Saga,” 175–176
Spider-Man (movie), 223–224
Spiegelman, Art, xiii
spinoffs, 164–167
spying, 69–71
Squadron Sinister, 86–87
Stan, Sebastian, 234
Statham, Jason, 127
Steinberg, Flo, 27
Steranko, Jim, 103
Stewart, Terry
on crossovers, 183
on “The Death of Superman,” 174
on distribution, 181
on downturn in comic sales, 178
and Marvel-Malibu merger, 179, 180
on Marvel movies, 219
on Marvel’s new strategy, 164
on Marvel’s success, 161
on McFarlane, 166
on Perelman’s purchase of DC, 163
on Vertigo comics, 159
storytelling
DC’s approach to, 23
Marvel’s approach to, xviii–xx, 18–23
St. Pierre, Joe, 211
Suicide Squad, 215–216, 237–238
Sullivan, Darcy, 160
Summer, Ed, 134–135
Supergirl (comic), 132
Supergirl (movie), 130
Supergirl (TV series), 239
superheroes
compartmentalization of, 131–132
DC’s new approach to, 30–31
downturn in market for comic books, 253–254
as mainstream, 241
Marvel’s approach to, 18–25
merchandising of, 162–163
and modernization of DC, 54–57
nostalgia of, 255–256
Superman
Adventures of Superman (TV show), 125
Adventures of Superman #500, 177–178
Captain Marvel and, 78–79
creation of, 1
death of, 173–175
debut of, 5–6
as good influence, 20
Kirby’s depiction of, 66
longevity of, 8–9
makeover of, 153–155
The Man of Steel (comic), 154–155, 168
Man of Steel (movie), 232–233, 235
Wundarr and, 80–81
Superman (movie), 123, 127–132
Superman and Spider-Man, 117–118
Superman IV: The Quest for Peace, 130
Superman Returns, 227
Superman’s Girlfriend Lois Lane, 55
Superman’s Pal Jimmy Olsen, 65–66, 71
Superman vs. The Amazing Spider-Man, 91–96
Supersnipe Comics Emporium, 134
Swamp Thing (comic), 76, 77, 158–159
Swamp Thing (movie), 130
Teen Titans, 55–56. See also New Teen Titans
television
adaptation of superheroes for, 123–127
DC adaptations for, 239–240
Marvel adaptations for, 217–218, 240
Thomas, Roy
and DC/Marvel crossover, 86, 87, 88
on DC’s confusion over Marvel’s success, xvi
on DC’s view of Kirby, 18
goes to DC, 112–113
goes to Marvel, 41–42
Houseroy as representation of, 68
on Kirby’s return to Marvel, 109
on Lee’s possibly joining DC, 72
and Man-Thing debut, 78
on price war, 73
resignation of, 90
and Superman vs. The Amazing Spider-Man, 91, 94–95, 96
and Uncanny X-Men, 110–111
on Wundarr, 80
Thompson, Kim, 143
trade paperbacks, 159–160, 207
Transmetropolitan, 159
Tsujihara, Kevin, 225, 235, 238
20th Century Fox, 221–223, 252
Ultimate, 200
Uncanny X-Men, 110–112
Vartanoff, Irene, 101
Vertigo, 159
Waid, Mark, 208
“warm body theory,” 107
Warner Bros., 128, 131, 162, 224–226, 231–237
Warner Communications, 143–145
Warrior, 157–158
Wein, Len, 52, 77, 88, 93–94, 107, 114, 130
Weisinger, Mort
background and temperament of, 2–3
baffled by Marvel’s success, xv, xviii
and Brother Power the Geek, 57
and DC-artist crossover to Marvel, 41–42
on DC writers, 39
and Doom Patrol, 31
on imitation, 49
retirement of, 61
Shooter on, 60–61
and Showcase series, 9
Weiss, Alan, 52
Wheeler-Nicholson, Malcolm, 5
Wilczynski, Robert, 33
Windsor-Smith, Barry, 99
Wizard of Oz, The, 90
Wolfman, Marv
on conservative content of comic books, 139
and Crisis on Infinite Earths, 148, 149
on DC-Marvel rivalry, 116
pitches DC relaunch, 152
on younger DC writers, 53
Wolverine, 200–201
Wonder Woman, 7, 8–9, 56, 154, 155
Wrightson, Bernie, 52, 77, 242
Wundarr, 80–81
X-Men (comic), 29–32, 59–60, 110–112, 167, 169
X-Men (movie), 220–223