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Check out the cover which is from Pocket Chiller Library #9 (Thorpe & Porter, 1971 Series), a series from the United Kingdom.
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GCD Comics Timeline
Alley Oop, the strip's title character, was a sturdy citizen in the prehistoric kingdom of Moo. He rode his pet dinosaur, Dinny, carried a stone war hammer and wore nothing but a fur loincloth. He would rather fight dinosaurs in the jungle than deal with his fellow countrymen in Moo's capital (and only) cave-town. In spite of these exotic settings, the stories were often satires of American suburban life.
Alley Oop's name derived from the "let's go" phrase allez, hop!, used as a cue by French gymnasts and trapeze artists. Initially, Alley Oop was a daily strip which had a run from December 5, 1932 to April 26, 1933.
Sam Glanzman in the Grand Comics Database:
As an animator and entrepreneur, Disney was particularly noted as a film producer and a popular showman, as well as an innovator in animation and theme park design. He and his staff created some of the world's most well-known fictional characters including Mickey Mouse, for whom Disney himself provided the original voice. During his lifetime he received four honorary Academy Awards and won 22 Academy Awards from a total of 59 nominations, including a record four in one year, giving him more awards and nominations than any other individual in history. Disney also won seven Emmy Awards and gave his name to the Disneyland and Walt Disney World Resort theme parks in the U.S., as well as Tokyo Disney Resort, Disneyland Paris, and Hong Kong Disneyland.
He died on December 15, 1966 from lung cancer in Burbank, California. A year later, construction of the Walt Disney World Resort began in Florida. His brother Roy Disney inaugurated the Magic Kingdom on October 1, 1971.
Walt Disney comics in the Grand Comics Database:
Saaf developed his art skills working at McFadden Publishing in 1938 and built his first art table using schematics from Mechanics Illustrated. He then majored in pictorial illustration at Pratt Institute from 1941 to 1942, then attended the School of Arts and Mechanics and the Art Students League of New York.
During World War II Saaf worked on titles including Commando Rangers, Clipper Kirk, Phantom Falcons as well as covers for Wings and Jumbo. He also "ghosted" Hap Hopper, providing art credited to Drew Pearson. After the War Saaf worked for Timely Comics, Dell Comics as well as autobiographical comics including "The Clown of Baseball" for Real Life Comics.
While still doing comic book work, Saaf ventured into television. In 1954 he worked for the Kudner Agency as an assistant television director and provided storyboards for The Jackie Gleason Show, and followed that in 1956 working for Dancer, Fitzgerald and Sample Agency.
Around 1959, Saaf began working at a freelancer. Into the 1960s he worked for numerous agencies providing many advertisements for products ranging from Post Cereal, Crest, Zest, Maxwell House, Life Savers and many others.
In the 1970s, he worked for DC Comics and Standard Comics illustrating romance stories until finally leaving comic books. He drew Supergirl stories in the character's original solo series in 1972. He continued drawing however by providing work for Highlights for Children magazine as well as various newspapers and other publications.
Art Saaf in the Grand Comics Database:
Scott Morse was trained at the California Institute of the Arts (commonly known as CalArts), where he majored in Character Animation. In his sophomore year he was hired out to work at Chuck Jones' Film Productions.
His comic book work includes work as illustrator and/or author on the series' Southpaw, Magic Pickle, Plastic Man (DC Comics), the mini-series Elektra: Glimpse & Echo (Marvel), and a three-comic story arc for Catwoman. Morse also illustrated the first six issues of Case Files: Sam & Twitch, a spin-off of the Spawn comic book series. He has contributed to the graphic novels Cut My Hair (Oni Press) and Hellboy: Weird Tales vol.2 (Dark Horse) among others.
Morse's own graphic novels have been released through a variety of publishing houses, including Oni Press, Dark Horse, Top Shelf Productions and Image Comics. He also adapted the R.L. Stine Goosebumps story The Abominable Snowman of Pasedena —one of three tales included in the volume Creepy Creatures— for Scholastic Press's graphic novel imprint, Graphix. While some of his graphic novels are intended for younger readers, Morse's work typically finds a much larger audience.
In the field of animation, he has worked as a character designer, storyboard artist, and art director for companies such as Disney, Universal, and Cartoon Network.
Scott Morse in the Grand Comics Database:
Much of Isherwood's early work was done for Marvel Comics, including such titles as Silver Surfer, Conan the Barbarian, Daredevil, Doctor Strange, and others. Since then, he has been involved in movies as a storyboard artist and a concepts/production illustrator, working with the likes of Bryan Singer, Richard Donner and Darren Aronofsky. He has also painted and designed covers for Canadian publishers, including Ann Diamond's Dead White Males (2000) and Sand for Snow (2003) by Robert Edison Sandiford. In 2011, Isherwood illustrated and prepared the cover for the American novel Antiquitas Lost, by author Robert Louis Smith. A selection of his paintings based on the Greek gods were featured in Issue 59 of the publication Matrix. In 1997, he created LINCOLN-16 (Skarwood Productions), a science fiction saga whose first two issues he wrote, drew, painted, and produced. Graphic novel projects underway include Lani the Leopard Queen (a fantasy adventure for children), Erox (an adult fantasy adventure), Krugall, and Glydia (a "faery tale"), and Krudge (a kitchen sink drama).
Geof Isherwood in the Grand Comics Database:
Polly and Her Pals was the first of several comic strips about flirting pretty girls, including Edgar Martin's Boots and Her Buddies, Chic Young's Blondie and Fritzi Ritz (Larry Whittington's strip that later spawned Nancy). Although Polly and Her Pals was highly influential, it was never a licensing success, and lacked the spin-off books and merchandise generated by other contemporary comic strips.
Six full-color Polly Sunday pages were prominently featured in Bill Blackbeard's The Smithsonian Collection of Newspaper Comics (Abrams, 1977), representing for many modern fans their first opportunity to see the strip. It is now considered one of the masterpieces of American comic strips of the Interwar period, both for its graphic qualities and its storytelling and humor. Sterrett has been lauded as one of the great innovators of the comic strip form, and is one of 16 groundbreaking cartoonists featured in America's Great Comic Strip Artists (1989, Abbeville Press) by comics historian Rick Marschall. When Polly and Her Pals was included in the Library of Congress exhibition Cartoon America, it was praised for its unique graphic style, and is considered to be, together with Krazy Kat, the epitome of the Art Deco style in comics. It had considerable influence on many later cartoonists, including Jules Feiffer.
Polly and Her Pals in the Grand Comics Database:
New Features for May 2013!We now only use genres from our official genre list.
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3,642 indicia publishers
29,807 variant issues
190,518 issue indexes