Inspired by this thread, I was wondering why you rarely see brand names in the storylines of superhero comic books. You rarely even see references to real-life contemporary magazines, TV shows, products, fast food places, electronics, etc.
While it subtracts from verisimilitude, it adds to the the world-building to make up the comic universe’s own brand names.
Just kick back with a Big Belly Burger and a Soder Cola.
Soder Cola?!!! That battery acid fluid is for wimps!
Real heroes drink Zesti Cola!!!
In Justice League International, an '80s comic that portrayed the Justice League in a humorous light, the Martian Manhunter was shown constantly snacking on Oreo cookies, until it was revealed he was ADDICTED to them. When writers returned the superheroes to more serious storylines, the Oreo subplot was not mentioned again for years. Now that there is a resurgence in the popularity of the funny '80s-era Justice League, there are references to J’onn’s love of “Chocos,” as if they were always “Chocos” and the Oreos never existed in continuity. That’s just one example of the shift in standards of using name brands.
However, name-dropping and pop culture references are more common in comics these days.
Most comics go through the name twist thing. Ford becomes Furd, Big Boy restaurants become Big Belly restuarants – Microsoft becomes Lexcorps – newspapers are firmly held to be either THE DAILY BUGLE or THE DAILY PLANET and magazines are altered: OMNI becomes OMNA, Newsweek becomes Newstime, USA Today becomes USA Daily.
The ULTIMATES is a good example of actual name-dropping and pop culture references-- and this seems to be the trend for some widescreen comics and particular creators in general-- i.e. The Millar/Quietly issues of The AUTHORITY. Warren Ellis’ PLANETARY sticks to archetypes and analogues.
But consider Paul Chadwick’s b&w comic, CONCRETE.
It is steeply grounded in the ‘real world’-- it’s only surreal and fantastic element being that of the protagonist, Ron, aka Concrete. It mentions real celebrities, scientists, locales and approximates real world concerns, fashions, attitudes, etc.
A closer look at ‘real world’ product use shows that the artist/writer Chadwick will use PART of a definitive product logo, but rarely the whole thing. A charming example is the issue where Concrete goes wandering in the desert at night to write for inspiration, thinks he sees a dead body being dropped off the side of the road in a big plastic bag – turns out it’s a bag full of junk food, with scans of real products. Looking at the revealing panel again, it’s clear that Chadwick took pains to “arrange” the products so that they’re recognizable ONLY in part.
Likewise when you see mundane shopping expeditions and cityscapes, you’ll see parts of corporate signs and logos for fast food places and muffler shops.
But I was wondering WHY go through so much pains to disguise a product when it would be simpler to show it? Are there editorial restrictions? Copyright issues? Liability exposure?
Gee whiz…in the Marvel Universe, everything is either Stark or Richards brand products, anyway. And they’re all endorsed by Simon Williams and Patsy Walker.
And everyone gets their oil from “Roxxon.” Which is one of the rare cases where the corporation really is evil.
I prefer to knock back a can of Yo Jo Cola, myself. 
I’ve wondered if it might have something to do with negotiating product placement deals…After all, why would TDK want to pay for to have their logo drawn in a background shot, if the artists already stick in real-world trademarks as a matter of course, just for visual realism?
Or not. Whatever.
OTOH, sometmes they’d show specific automobiles and identify them by name. Johnny Storm drove a Stingray, with Stan adding a caption to the efffect of “Jolly Jack’s been BUSTIN’ to draw a Stingray!” The Question drove a vintage VW Beetle with a Rolls Royce engine jerryrigged in, and Tony Stark drove an XKE. American Flagg showed the mayor of Chicago (30 years into the future) choosing between his Rolls Royce and Mercedes.
Well, it’s not like automakers would ever advertise in comics, so it’s a different standard.
Oh, and Jan Pym wore Halston designer originals in the 70s.
And when Mary Jane Watson married Peter Parker in 1987, she was wearing a Willi Smith gown (and he was at the wedding!).