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525,000 covers uploaded!
The 525,000th cover cover was uploaded in April to the GCD!
Check out the cover which is from the issue Aventura #491 from Mexican publisher Editorial Novaro.
Grand GCD Gathering during the Baltimore Comic-Con in September
Make your plans now to attend the Grand GCD Gathering during the Baltimore Comic-Con on September 25-27, 2015 at the Baltimore Convention Center in Downtown Baltimore, Maryland. This will be an historic meeting, where more of us will meet face-to-face than ever before. Come by and visit our booth we will have at the show! More Information to come!
GCD Comics Timeline
He was a 1997 recipient of the industry's Inkpot Award.
At 17, Tuska moved to New York City, rooming with his cousin Annie, and a year later began attending the National Academy of Design. His artistic influences included illustrators Harold von Schmidt, Dean Cornwell, and Thomas Lovell, and comic strip artists Lou Fine, Hal Foster, and Alex Raymond.
Tuska began working for comic book packager Eisner & Iger, one of a handful of companies at the time that supplied comics on demand for publishers entering the new medium. His first known published comic-book work appeared in Fox Comics' Mystery Men Comics #1 and Wonderworld Comics #4, both cover-dated August 1939.
At Eisner & Iger, Tuska said in 2001, "I worked alongside Bob Powell, Lou Fine, and Mike Sekowsky". Writer-artist and company co-founder Will Eisner recalled of the period, "It was a friendly shop, and I guess I was the same age as the youngest guys there. We all got along. The only ones who ever got into a hassle were George Tuska and Bob Powell. Powell was kind of a wiseguy and made remarks about other people in the shop. One day, George had enough of it, got up, and punched out Bob Powell".
George Tuska in the Grand Comics Database:
He is best known for his work as a researcher at the two main American comics companies, DC and Marvel, where he helped to catalog the various fictional characters that comprised their respective continuities.
he was first hired by DC Comics, where he was given the task of reading every comic book published by the company since 1935. His research was used by Len Wein to write Who's Who in the DC Universe. Sanderson then went to work for Marvel as their first (and only) archivist, and contributed as a researcher on the various Official Handbook of the Marvel Universe series in the 1980s and early 1990s.
Sanderson was also the writer of the Marvel Saga and Wolverine Saga limited series. These titles did not follow the typical art-centered comic book format; instead, the two series focused on text chronicling the fictional histories of comic book characters — rather than writing new exploits of the characters — that Sanderson culled from previous titles Marvel had published over the years. The text was supplemented by individual panels excerpted from the comic books that served as Sanderson's sources.
Peter Sanderson in the Grand Comics Database:
Uderzo was awarded the Knight of the Legion of Honour in 1985, inducted into the Eisner Award Hall of Fame, U.S., in 2005, and awarded the Knight of the Order of the Netherlands Lion in 2007.
According to the UNESCO's Index Translationum, Uderzo is the 10th most often translated French language author and the third most often translated French language comics author behind René Goscinny and Hergé.
Uderzo retired from drawing in September 2011. On January 9 2015, Uderzo paid tribute in solidarity with the victims of the Charlie Hebdo shootings with a drawing of the character Asterix declaring that he "too is a Charlie".
Albert Uderzo in the Grand Comics Database:
Craig brought a clean, crisp, naturalistic approach to EC's legendary horror series—The Crypt of Terror, The Vault of Horror and The Haunt of Fear — plus Crime SuspenStories and Two-Fisted Tales. Wally Wood once said Craig drew "the cleanest horror stories you ever saw". His first EC horror work came with the cover art for The Crypt of Terror #17 (May 1950) and both the art and script for that issue's seven-page story "Curse of the Full Moon".
In being a writer as well as an artist, Craig differed from the majority of EC artists. He was responsible for the stories hosted by the Vault-Keeper, and he also drew that horror host in the framing sequences of stories by other EC illustrators. He eventually concentrated on The Vault of Horror and Crime SuspenStories, doing the lead story in each of these bimonthly titles.
Craig's many covers included that of the infamous Crime SuspenStories #22, shown during the 1950s Senate hearings on juvenile delinquency. U.S. Senator Estes Kefauver asked EC publisher Bill Gaines whether he thought the cover, depicting an ax-wielding man holding a woman's severed head, was in good taste. Gaines responded, "Yes, sir, I do, for the cover of a horror comic"—a remark that became an oft-quoted example of comic books' alleged depravity. Ironically, Craig was one of the more wholesome EC artists, frequently choosing to show the reactions of characters rather than the horrific event itself.
Johnny Craig in the Grand Comics Database:
In March 1941, Weisinger moved from Standard Magazines to National Periodicals (later DC Comics) primarily as editor of the Superman and Batman titles. Among his earliest jobs was the task of dreaming up new characters - these resulted in the line-up of More Fun Comics #73, and took the form of Aquaman, Green Arrow and Johnny Quick. Weisinger's fledgling career was soon interrupted by his World War II military service.
Weisinger returned to his job at National after his discharge from military service in 1946, and resumed his editorship of the Superman comics, the Batman titles and others. His tenure was marked by the introduction of a variety of new concepts and supporting characters, including Supergirl, Krypto the Super Dog, the Phantom Zone, the bottle city of Kandor, the Legion of Super-Heroes, and a variety of types of kryptonite. Attempting to rationalize Superman's powers, it was under Weisinger's watch that the "concept that in a world circling a yellow sun [as opposed to Krypton's red sun] his [Superman's] powers are multiplied" came to be introduced to the Superman mythology. Weisinger was particularly "proud of having dreamed up the "imaginary story" gimmick (non-canonical 'what if...?' scenarios not bound to series or character continuity, timeframe or logic), and for "having conceived the idea of DC's first giant anthology - The Superman Annual."
Mort Weisinger in the Grand Comics Database:
Sgt. Fury in the Grand Comics Database:
At the age of 17 (in 1960) he started working at the Toonder studios as volunteer. In the beginning he helped with the drawing projects of Tom Poes (1962–1963) and Panda (1961–1968).
For Pep he drew De Argonautjes (1968–1973) and Ridder Roodhart (1969–1971). He wrote scenarios for the Macaroni's (1971–1975) and Blook (1972–1973).
During the period he worked for the cartoon magazine Eppo, he wrote four scenarios for the comic Storm (1978–1980) and under his pseudonym Dick Richards eight scenarios for the comic De Partners (1976–1984), drawn by Carry Brugman.
In 1977 Matena drew his first realistic comic Virl.
From 1982 until 1984 he lived in Spain and worked for Selleciones Illustrades.
For the comic magazine Titanic, he created two starship stories.
After his move to Belgium he created the comics De laatste dagen van Adgar Allan Poe, Gauguin en Van Gogh and Mozart & Casanova.
With stories by Martin Lodewijk Dick Matena drew three spin-off comics of Storm. The series of these Storm albums are called Kronieken van de Tussentijd. He used his pseudonym John Kelly at first; the last comic is published with his own name.
In 1997 he started again with the comic Tom Poes. Two stories were published in the Dutch version of the magazine Donald Duck.
Matena draws comics of classical Dutch literary books. For one of these comics he won the Bronzen Adhemar award.
Dick Matena in the Grand Comics Database:
Initially, Dargaud published novels for women. In 1948, they started Line, a "magazine for elegant women", as well as a French edition of the Belgian Tintin magazine.
In 1960, Dargaud bought the weekly Pilote magazine from René Goscinny, Albert Uderzo, and Jean-Michel Charlier, and the same year they published their first albums. Goscinny continued as editor of the magazine, and Charlier was album editor for a period.
In 1974, Dargaud wanted to diversify, and Pilote became a monthly magazine, and spawned another two monthly magazines. The new magazines were Lucky Luke Mensuel (a Western themed magazine around the series Lucky Luke) and Achille Talon Magazine (a humor based magazine around the series Achille Talon). However, both of them were unable to sustain a readership and folded within a year. The comics from these two magazines were put back into Pilote.
In 1988, Dargaud was acquired by Média-Participations.
Dargaud in the Grand Comics Database:
Allen Saunders covered the gamut of comics genres: editorial, commercial, gag, adventure and melodrama. Big Chief Wahoo was popular in its day, a witty romp with puns, slapstick and satire. But although it defended Native Americans and joked at "palefaces," it relied on exaggerated stereotypes for humor. Saunders (1971 interview) admitted that "if we were doing Chief Wahoo today, we'd have problems." It was his serious dramas or "open-ended novels" (ibid) Steve Roper, Mary Worth, and Kerry Drake that showed his mature talents and reflected himself and his views on the human condition.
Allen Saunders in the Grand Comics Database:
The strip focuses on the curious relationship between a guileless, carefree, simple-minded cat named Krazy of indeterminate gender (referred to as both "he" and "she") and a grumpy mouse named Ignatz. Krazy nurses an unrequited love for the mouse. However, Ignatz despises Krazy and constantly schemes to throw bricks at Krazy's head, which Krazy interprets as a sign of affection. A third principal character, Offisa Bull Pupp, tries to "protect" Krazy by thwarting Ignatz' attempts and imprisoning him. Later on, Offisa Pupp fell in love with Krazy.
Despite the slapstick simplicity of the general premise, the detailed characterization, combined with Herriman's visual and verbal creativity, made Krazy Kat one of the first comics to be widely praised by intellectuals and treated as "serious" art. Though Krazy Kat was only a modest success during its initial run, in more recent years, many modern cartoonists have cited the strip as a major influence.
It became a daily comic strip on October 28, 1913 and a black and white full-page Sunday cartoon on April 23, 1916.
Krazy Kat in the Grand Comics Database:
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