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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.
Visit us on Facebook and let us know you are coming, and we will make arrangements to meet!
1.5 million sequences!
The 1.5 millionth sequence was added to our database!
Check out the issue Monkeyshines Comics #10 from Ace Magazines, published August 1946.
222,222 issues indexed!
The 222,222nd issue was indexed at the GCD!
Check out the issue Lucky Luke #50 - Der weiße Kavalier from the German publisher group Egmont Ehapa. It is the German reprint of the French Lucky Luke comic.
GCD Comics Timeline
A native of Tokyo, Hara attended Hongo Senior High School and worked as an assistant to manga artist Yoshihiro Takahashi after graduating. As an amateur, he won the first prize of the 33rd Fresh Jump award for his one-shot Super Challenger. Hara's professional career began with his first published work: Mad Fighter in 1982. His first serialized work in the Weekly Shōnen Jump was the Iron Don Quixote, which lasted only ten weeks in serialization. He achieved fame after the publication of Hokuto no Ken (Fist of the North Star) in 1983, which he co-created with Buronson and ran for six years in Weekly Shōnen Jump. After its completion, he worked on shorter series and one-shots, including three different adaptations of Ryu Keiichiro's novels (Keiji, Tokugawa Ieyasu and Sakon). One of his recent works is Sōten no Ken (Fist of the Blue Sky), a prequel to Hokuto no Ken, which was serialized in Weekly Comic Bunch from 2001 until the magazine's final issue in 2010.
Tetsuo Hara in the Grand Comics Database:
His career started in the early 80's with Wim Stevenhagen under the pseudonym Prutspruts ("fiddle-fiddle"), which later changed to Prutswerk ("lousy job"). In the early stages the later Dutch musician Fay Lovsky. The first comic they brought out, titled De Ironische Man ("The Ironic Man") did not prove very successful, however the (now) duo went on producing comics like 'Bert J. Prulleman' and 'Pruts Pruts, Privat Kreye' for the alternative magazine De Vrije Balloen. In this time the Familie Doorzon was born.
In 1984 the duo broke up, and Gerrit de Jager continued the familie Doorzon series and tuned it into a huge success. His loose style, together with ruthless satire on the Dutch society gained the position of the most popular comic-artist.
The success of De Familie Doorzon is largely due to the perfect satire on Dutch society and family life, with every majority and minority represented and no one spared. From the transvestite barkeeper (Rinus) to the dopepeddling Ronnie D. and his voluptuous sister and her black husband every nook and cranny of the Dutch welfare state (as personified by Emiel) and its workforce (the Biereco's) is mercilessly ridiculed.
Gerrit de Jager has a quite distinct style, characterized by a love for ridiculous situations, which frequently result in disaster. A good example of this is the inevitable falling over of buildings if the Biereco's (see illustration) had anything to do with it.
Although he's milder in his other comics, the common denominator is a good sense for the inevitable madness of social conventions.
Gerrit de Jager in the Grand Comics Database:
He is married to comics writer Louise Simonson with whom he collaborated on X-Factor from 1988 to 1989, and with whom he made a cameo appearance in the 2011 Thor feature film.
Simonson's awards include Shazam Awards for Outstanding New Talent in 1973, for Best Individual Short Story (Dramatic) in 1973 for "The Himalayan Incident" in Detective Comics #437 (with Archie Goodwin), and the same award in 1974 for "Cathedral Perilous" in Detective Comics #441 (again with Archie Goodwin). Simonson and Goodwin also won the Shazam Award for Best Individual Story (Dramatic) in 1974 for "Götterdämmerung" in Detective Comics #443. All three winning stories were a part of the Manhunter saga.
At the 2010 Harvey Awards, Simonson received the 2010 Hero Initiative Lifetime Achievement Award. It was presented to him by his wife, Louise Simonson.
Simonson's distinctive signature consists of his last name, distorted to resemble a Brontosaurus.
Walt Simonson in the Grand Comics Database:
Companion titles Air Ace Picture Library (1960–1970) and Action Picture Library (1969–1970) were both folded into the longer-running War Picture Library in later years.
Launched in September, 1958, the Amalgamated Press/Fleetway title War Picture Library was one of the earliest (arguably the earliest) "pocket library" titles, and in particular one of the first to feature stories set during World War II. Comprising 64-pages, the tales were, according to Steve Holland "page turner[s] of the first order, a shilling shocker that grabbed [the] attention" of a – primarily – young audience. Written and illustrated, at least in early years, "by creators who had lived through the war themselves, many on the front line," War Picture Library was able to show clearly to its target audience "what [the reader's] fathers and uncles had been through in combat." War Picture Library brought the Second World War to life "[i]n all its grim glory," according to writer and editor Steve Holland.
War Picture Library in the Grand Comics Database:
Kelly received his MFA at New York University's Tisch School of the Arts, where he still teaches Writing for Animation/Writing for Comics. At NYU, he was recruited into Marvel Comics' editor James Felder's Stan-hattan Project, a program that trained potential comic book writers at the university. After six months of working in the class, Felder offered Kelly a job scripting Fantastic Four 2099 over a Karl Kesel plot. Kelly took the assignment, but his first published work for Marvel was 1996's 2099: World of Tomorrow #1-8 and Marvel Fanfare vol.2 #2-3.
In 1997, Kelly began his first monthly assignment, Deadpool, initially pencilled by Ed McGuinness. The title was immediately well received by fans and critics. At one point it was due to be cancelled with #25, but a write-in and Internet campaign by fans led Marvel to reverse their decision. In 1997, Kelly also became the writer of Daredevil, on which he was accompanied by well-known Daredevil artist Gene Colan.
Kelly is a part of the Man of Action collective of creators (along with Joe Casey, Duncan Rouleau, Steven T. Seagle), who created the series Ben 10, currently airing on Cartoon Network. Around the same time Ben 10 began to air, he was also hired as a Story Editor on TMNT: Fast Forward. With Man of Action Studios, he's also a Supervising Producer on Disney/Marvel's upcoming Disney XD series, "Ultimate Spider-Man."
Joe Kelly in the Grand Comics Database:
After graduating, Jusko worked as an assistant for five months for Howard Chaykin, which led to Jusko selling his first cover for Heavy Metal magazine at the age of 18. Forgoing college, Jusko went straight into the commercial illustration world.
During his career, Jusko has worked for almost every major comic book publisher, producing hundreds of images for both covers and interiors. In addition to his long stint as one of the main cover artists for The Savage Sword of Conan, Jusko has painted every major character that Marvel Comics has created, most notably the Hulk and the Punisher.
Jusko has also produced covers and interior art for many other comics companies and characters, including DC Comics, Crusade Comics, Innovation Comics, Harris Comics, Wildstorm Comics, Top Cow Productions, and Byron Preiss Visual Publications.
Joe Jusko in the Grand Comics Database:
Ortiz joined Warren Publishing in 1974 due to his connections with the Valencia studio of Selecciones Illustrada. He would remain with Warren until 1983 and drew more stories for that company (approximately 120) than any other artist. His work included the series Apocalypse, Night of the Jackass and Coffin in Eerie, as well as Pantha in Vampirella and numerous stand alone stories. Ortiz would also draw Vampirella herself in issues 35 and 36 that title. He won the award for 'Best All Around Artist' at Warren in 1974.
Following this period in the U.S. comics industry making horror comics, he returned to Spain and formed a lasting and fertile working partnership with Antonio Segura in 1981, initiated by the serial publication of Hombre, a post-apocalyptic saga, in the magazine Cimoc.
By 1983, Ortiz and Segura joined with several other artists including Leopold Sánchez, Manfred Sommer and Jordi Bernet, to form the short-lived publishing house Metropol with the artists' interest in mind, responsible for three comics magazines, Metropol, Mocambo and KO cómics.
During the 1980s Ortiz also produced work for a number of British publications including The Tower King and The House of Daemon for Eagle and The Thirteenth Floor for Scream!. He then moved over to 2000 AD in 1984 where he contributed to a number of stories with most work on Rogue Trooper.
José Ortiz in the Grand Comics Databse:
From the mid-1960s to the mid-1970s, Saladino did the titles, lettering, and sound effects for all DC Comics covers. For a period in the 1970s, he was also "page-one letterer" for many Marvel Comics books.
Saladino designed the logos for DC's Swamp Thing, Phantom Stranger, Metal Men, Adam Strange, House of Mystery, House of Secrets, Unknown Soldier, and Vigilante, among others. He also re-designed established character logos to make them more contemporary and stylish, such as with Green Lantern.
For Marvel, Saladino's logos, which he either created or updated, include The Avengers, Sgt. Fury and his Howling Commandos, Captain America and the Falcon, and Marvel Triple Action.
In 1974, with the launch of the short-lived publisher Atlas Comics, Saladino designed logos for all the company's titles. He did the same in the 1980s for Neal Adams' Continuity Comics. During that decade, Saladino also designed the logos of some titles published by Eclipse Comics and in the 1990s he designed product logos for the Lucky Mojo Curio Company, a metaphysical supply manufactory founded by Catherine Yronwode, the former editor-in-chief of Eclipse Comics.
Saladino's default dialoguing style is curvy and naturally enmeshed with the artwork. One trademark is his use of big, bold exclamation points. Saladino always letters by hand. Likewise, his word balloons are done freehand, never with a template.
Gaspar Saladino in the Grand Comics Database:
Under his own name, Colan became one of the premier Silver Age Marvel artists, illustrating a host of such major characters as Captain America, Doctor Strange (both in the late-1960s and the mid-1970s series), and his signature character, Daredevil. Operating, like other company artists, on the "Marvel Method" — in which editor-in-chief and primary writer Stan Lee "would just speak to me for a few minutes on the phone, tell me the beginning, the middle and the end of a story and not much else, maybe four or five paragraphs, and then he’d tell me to make a 20-page story out of it," providing artwork to which Lee would then script dialogue and captions — Colan forged his own style, different from that of artists Jack Kirby and Steve Ditko.
Colan in the 1970s illustrated the complete, 70-issue run of the acclaimed horror title The Tomb of Dracula as well as most issues of writer Steve Gerber's cult-hit, Howard the Duck.
He brought his shadowy, moody textures to Batman, serving as the character's primary artist from 1982 to 1986, penciling most issues of Detective Comics and Batman during this time.
Colan was inducted into the Will Eisner Comic Book Hall of Fame in 2005.
Gene Colan in the Grand Comics Database:
By 1911, after seven years of low wages, he was working as a pencil-sharpener wholesaler and began to write fiction. During this period, he had copious spare time and he began reading many pulp fiction magazines. In 1929 he recalled thinking that "if people were paid for writing rot such as I read in some of those magazines, that I could write stories just as rotten. As a matter of fact, although I had never written a story, I knew absolutely that I could write stories just as entertaining and probably a whole lot more so than any I chanced to read in those magazines."
Aiming his work at the pulps, Burroughs had his first story, Under the Moons of Mars, serialized by Frank Munsey in the February to July 1912 issues of The All-Story – under the name "Norman Bean" to protect his reputation. Under the Moons of Mars inaugurated the Barsoom series and earned Burroughs US$400 ($9,775 today). It was first published as a book by A. C. McClurg of Chicago in 1917, entitled A Princess of Mars, after three Barsoom sequels had appeared as serials, and McClurg had published the first four serial Tarzan novels as books.
Burroughs soon took up writing full-time and by the time the run of Under the Moons of Mars had finished he had completed two novels, including Tarzan of the Apes, published from October 1912 and one of his most successful series.
Edgar Rice Burroughs in the Grand Comics Database:
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4,555 indicia publishers
46,097 variant issues
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