Attention comic book fans from all ends of the fantasy-verse; the long-awaited battle between Detective Comics (DC) and Marvel has finally arrived. I know that many of you have been eagerly awaiting this fateful day, so sit back and enjoy as I discuss the cinematic superiority of DC.

In a world where a majority of what we see on the news is mostly evil and gloom, people often turn to the fantasy world as a source of solace, as seen through the dominating amount of Marvel superhero films in the recent box offices. What many people don’t realize is that, although the DC movies don’t contain the comforting appeal that Marvel movies do, they should, by no means, be dismissed from the group of domineering film companies out there today.

To say that the DC films don’t make money is simply not true. I think we all remember Christopher Nolan’s blessed “The Dark Knight” trilogy that changed the hearts and souls of many fortunate viewers. These films brought in over $1 billion domestic revenue and over $2 billion worldwide, adding to the list of only 26 films to pass the $1 billion mark. In addition, “Superman,” that starred Christopher Reeve and grossed over $1 billion, was nominated for three Oscars and won an Academy Award. If the Academy deemed DC films worthy of this, then who are we to question their infinite wisdom?

While we are on the topic of Oscars, I would like to take you all on a trip down cinematic history to something I call the 2009 Oscars where Heath Ledger won an Academy Award for Best Supporting Actor in “The Dark Knight.” Name one Marvel movie that won an Academy Award in the recent decade. I’ll wait—judging by the fact that the most recent and sole win Marvel had was “Spider-Man 2” in 2004, I think I’ll be waiting for a while.

Another point worth mentioning is that DC comics may have one of the most progressive character lists out there.

Think about it. “Wonder Woman” is now the highest grossing superhero origin film in the world, surpassing even the 2002 “Spider-Man.” This film was directed by a woman and had a mainly female cast, sending out progressive ideas to viewers. For Director Patty Jenkins, and the rest of the world, this film was groundbreaking. I don’t know about you, but I personally have never witnessed a female standalone Marvel superhero film grace the box office.

If you’re still iffy that a progressive agenda doesn’t matter, and it’s just a movie, not a political statement, fine. Let’s discuss the relevance of the studios’ depiction of their characters.

Marvel molds their characters in the format of a civilian who just stumbled upon a radioactive spider and decided to use his newfound powers for good, just like, well, Peter Parker. How realistic; their characters are not so much relatable as they are entertaining because if you seriously identify with a sapling in a pot, then let me hook you up with a grade-A therapist. You might need one.

But think about Batman: an orphan with a Judge Judy complex and some serious trust issues. Or Cyborg: the scared kid who went through a traumatic accident and had to learn to adjust to his new world. These are the real people, the ones who make a conscious effort to help others while dealing with their own traumas. They’re more than just idealistic notions of what we hope humanity will be, rather they’re the truth that DC strives to expose.

If I managed to persuade you to join the DC salvation train, just put up the bat-signal. ‘I’ll be there in a Flash!’ If not, at least I hope I (in the words of the Joker from “The Dark Knight”) “introduced a little anarchy, upset the established order and everything becomes chaos.”