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1.5 million sequences!
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Check out the issue Monkeyshines Comics #10 from Ace Magazines, published August 1946.
GCD Comics Timeline
Blazing Combat was an American war-comics magazine published by Warren Publishing from 1965 to 1966. Written and edited by Archie Goodwin, with artwork by such industry notables as Gene Colan, Frank Frazetta, John Severin, Alex Toth, and Wally Wood, it featured war stories in both contemporary and period settings, unified by a humanistic theme of the personal costs of war, rather than by traditional men's adventure motifs.
Following the success of Warren Publishing's black-and-white horror-comics magazine Creepy in 1964, publisher James Warren expanded into war fiction the following year with the short-lived Blazing Combat. The black-and-white, 64-page Blazing Combat ran four quarterly issues, cover-dated October 1965 to July 1966, and, like Creepy, carried a 35-cent cover price.
Warren was inspired by the humanistic drama in editor Harvey Kurtzman's EC Comics titles Frontline Combat (1951-1954) and Two-Fisted Tales (1950-1955), saying in 1999, "I thought what Harvey had done for [EC publisher] Bill Gaines should have separated in some way from the EC horror comics. Harvey's early work was the inspiration for Blazing Combat. I told Harvey Blazing Combat editorial was not going to be pro-war or blood and guts. It was going to be anti-war...."
Kurtzman, by this time editor of Warren's satirical magazine Help!, would serve as consultant on the new magazine, which would be edited by fellow Warren staffer Archie Goodwin. Goodwin wrote all but one of the series' 29 stories, co-writing two with each story's respective artist.
Blazing Combat in the Grand Comics Database:
When the strip began, Drake was a criminal investigator for the district attorney. Later, after the murder of his secretary and fiancee, Sandy Burns, by Trinket and Bulldozer, he left the DA's office and joined his city's police force. Kerry fought Dr. Prey, the Man with No Face, and many others. The stories had plenty of suspense, action and danger, but unlike Dan Dunn, who had followed early Dick Tracy in often explosive shoot-out resolutions of crime, the emphasis was on how Drake traced clues with up-to-date crime analysis tools to solve complex cases that gradually unfolded and intrigued readers.
White-haired Drake was attractive and intelligent, while his nefarious opponents were initially drawn with facial distortion (an evil-is-ugly convention for villains that was also found in the cartooning of Pete Hoffman and Chester Gould). Under Gumen, however, the artwork became more consistently photorealistic. Meanwhile, Drake advanced in his career and developed in his personal life as Saunders combined action and drama. In 1957, Drake married Mindy, a police widow, and when they had quadruplets, he had to balance the conflicting demands of work and family. His younger brother, private eye David, better known as Lefty, then took over more of the adventuring and case resolution.
Kerry Drake in the Grand Comics Database:
Although stories often end in gunfights, Tracy uses forensic science, advanced gadgetry, and wits, in an early example of the police procedural mystery story. Stories typically follow a criminal committing a crime and Tracy's relentless pursuit of the criminal. The strip's most popular villain was Flattop Jones, a freelance hitman hired by black marketeers to murder Tracy. When Flattop was killed, fans went into public mourning. Reflecting film noir, the villains' small crimes led to bigger, out of control situations. Similarly, innocent witnesses were frequently killed, and Tracy's paramour Tess Trueheart was often endangered by the villains. As the story progressed, Tracy adopted an orphan under the name, Dick Tracy Jr., or "Junior" for short, who appeared in investigations until becoming a police forensic artist in his father's precinct, and cultivated a professional partner, the ex-steel worker Pat Patton, who gradually became a detective of skill and courage enough to satisfy Tracy's requirements.
Dick Tracy in the Grand Comics Database:
He is listed as the creator of Barb Wire and the developer of the setting of Steel Harbor for these lines. His work on this line includes writing and penciling the mini-series Barb Wire: Ace of Spades (1-4), penciling issues 10-12 of X, being the image illustrator (i.e., the visual creator) of characters like Ghost and is given creator credit on Wolf Gang, Pit Bulls and Motorhead. He also worked on Will to Power (issues 4-6 as writer & 10-12 as penciler) and the second volume of Ghost, on which he acted as writer and later co-writer for the majority of that title's run.
Chris Warner in the Grand Comics Database:
Noted for combining blackly humorous taboo-laden subject matter with simplified and exaggerated cartoon drawing styles, Brunetti was strongly influenced by Charles M. Schulz and Peanuts. His best known comic work is his largely autobiographical series Schizo, of which four issues appeared between 1994 and 2006, the first 3 of which have been collected as Misery Loves Comedy. Schizo #4 received the 2006 Ignatz Award for Outstanding Comic of the Year.
He has also produced two collections of gag cartoons, Haw! (2001) and Hee! (2005). He has worked as an illustrator, including cover designs for The New Yorker since 2007. His early work includes also the strip Misery Loves Comedy which he created for the University of Chicago newspaper The Maroon while a student there. The strip bears no relation to the 2007 Fantagraphics Books collection of the same name, which collects the first three issues of Schizo in their entirety, along with additional material contributed to various other publications during the same time period.
He is also the editor of An Anthology of Graphic Fiction, Cartoons, and True Stories (2006, Yale University Press). The second and final volume of the anthology was released in October 2008. Brunetti also illustrated the cover of comedian Patton Oswalt's album, My Weakness Is Strong. In 2012, Brunetti contributed to The Guardian's "Cartoonists on the world we live in" series.
He is currently on the faculty of Columbia College Chicago, where he teaches classes on comics, drawing and design.
Ivan Brunetti in the Grand Comics Database:
In the early 1990s, the self-taught artist became prominent due to his work on Marvel Comics' The New Mutants and later X-Force. In 1992, he and several other popular Marvel illustrators left the company to found Image Comics, which started a wave of comic books owned by their creators rather than by publishers. The first book published by Image Comics was Rob Liefeld's Youngblood #1.
After graduating high school, Liefeld attended a comic convention where he showed editors his samples consisting of 10 pages of sequential art featuring his own characters. Editor Dick Giordano, to whom Liefeld showed his samples at the DC booth, requested that Liefeld send him more samples. Although Liefeld was apprehensive about approaching the Marvel booth, he did so at a friend's urging, and as a result, editor Mark Gruenwald offered Liefeld a job illustrating an 8-page Avengers backup story featuring the Black Panther, much to the 19-year-old artist's surprise. Though the published story was ultimately illustrated by another artist, Liefeld was later given character design work by the publisher. His first published story, however, was the five-issue miniseries Hawk and Dove for DC Comics, the first issue of which was published with an October 1988 cover date.
That same year, Liefeld drew a Bonus Book insert in Warlord #131, as well as Secret Origins #28.
Rob Liefeld in the Grand Comics Database:
After graduating from New York's High School of Music & Art, he spent the 1940s doing freelance work for various publishers and publications before getting regular work at EC Comics in 1950. He wrote and edited the Two-Fisted Tales and Frontline Combat war comic books, where he also drew many of the carefully researched stories, before he created his most-remembered comic book, Mad, in 1952. The Kurtzman-scripted stories were drawn by top EC cartoonists, most frequently Will Elder, Wally Wood, and Jack Davis; the early Mad was noted for its social critique and parodies of pop culture. The comic book switched to a magazine format in 1955, and Kurtzman left it in 1956. Following his departure, he edited the short-lived Trump and Humbug. He edited the low-budget Help! from 1960 to 1965 and brought it to an end when the risqué Playboy feature Little Annie Fanny began to take up too much of his time.
The Harvey Award was named in Kurtzman's honor in 1988. He was inducted into the Will Eisner Comic Book Hall of Fame in 1989, and his work earned five positions on The Comics Journal's Top 100 Comics of the 20th Century.
Harvey Kurtzman in the Grand Comics Database:
He acquired a fine arts degree in 1935, then moved to New York City, where he drew for pulp magazines. The following year he joined the studio of the quirkily named Harry "A" Chesler, an early "packager" supplying comics features on demand for publishers entering the emerging medium of comic books.
He is among the contributors to the future DC Comics' landmark title Action Comics #1 (cover-dated June 1938), the landmark comic that introduced Jerry Siegel and Joe Shuster's seminal superhero Superman. There Guardineer wrote, drew and lettered the 12-page feature introducing his magician-hero creation Zatara, a character remaining in the DC stable as of the 21st century.
Guardineer's other early work includes art for Quality Comics, where he created the character Blue Tracer; and Columbia Comics, where he worked with former DC editor Vin Sullivan, who had edited Action Comics.
Guardineer followed Sullivan to the editor's next venture, the comic-book company Magazine Enterprises, which Sullivan founded. There from 1949–1955, Guardineer drew writer Gardner Fox's Old West masked-crimefighter series The Durango Kid. In the late 1940s, he also drew for such Lev Gleason Publications comics as Black Diamond Western and Crime Does Not Pay. In 1955, Guardineer retired from comics and worked 20 years with the U.S. Postal Service.
Fred Guardineer in the Grand Comics Database:
Barefoot Gen (はだしのゲン Hadashi no Gen) is a Japanese manga series by Keiji Nakazawa. Loosely based on Nakazawa's own experiences as a Hiroshima survivor, the series begins in 1945 in and around Hiroshima, Japan, where the six-year-old boy Gen Nakaoka lives with his family. After Hiroshima is destroyed by atomic bombing, Gen and other survivors are left to deal with the aftermath.
The comics depict in graphic detail the aftermath of the Hiroshima bombing but also atrocities committed by Japanese troops in other countries during World War II.
Because of this the Comic Book Legal Defense Fund says, "The series was pulled from primary and middle school libraries in the Japanese city of Matsue. Keiji Nakazawa’s celebrated series was removed after the complainant — one who does not even live in the prefecture where Matsue City is located — called the book an 'ultra-leftist manga that perpetuated lies and instilled defeatist ideology in the minds of young Japanese.' Citing 'portions that warrant consideration as appropriate reading material for children,' school officials barred students from checking out the manga but allowed teachers to continue using it in classrooms. The Matsue City school board overturned the order that banned Barefoot Gen from school libraries, but they didn’t do it over concerns of censorship. The board cited concerns over procedural problems with the decision."
from https://en.wikipedia.org/wiki/Barefoot_Gen and http://cbldf.org/banned-comic/banned-challenged-comics/case-study-barefo...
Barefoot Gen in the Grand Comics Database:
Rod Serling served as executive producer and head writer; he wrote or co-wrote 92 of the show's 156 episodes. He was also the show's host and narrator, delivering monologues at the beginning and end of each episode.
In 1997, the episodes "To Serve Man" and "It's a Good Life" were respectively ranked at 11 and 31 on TV Guide's 100 Greatest Episodes of All Time; Serling himself stated that his favorite episodes of the series were "The Invaders" and "Time Enough at Last". In 2002, The Twilight Zone was ranked No. 26 on TV Guide's 50 Greatest TV Shows of All Time. In 2013, the Writers Guild of America ranked it as the third best-written TV series ever and TV Guide ranked it as the fifth greatest show of all time.
Gold Key Comics published a long-running Twilight Zone comic that featured the likeness of Serling introducing both original stories and occasional adaptations of episodes. The comic outlived the television series by nearly 20 years and Serling by nearly a decade. A later revival of Twilight Zone comics was published by Now Comics, spinning off of the 1980s revival of the show.
The Twilight Zone in the Grand Comics Database:
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