Welcome to the Grand Comics Database!
We're a nonprofit, Internet-based organization of international volunteers dedicated to building a database covering all printed comics throughout the world, and we're glad you're here! Give our search form a try, or take a look at the menu to the left to see how you can help us improve the site.
New Search!Our new search server is now working again. We used the downtime for further improvements on its setup. For example we added more sorting options or rearranged the search index so that a search for "X-Men 12" (with quotes) now finds all issues which series name ends in X-Men and whose issue number is 12.
The new search behaves similar to a google or bing search, it searches the content of most of our data and allows easy combination of different search terms in the different data fields. If you think the results are not what you would expect please use one of the contact points on the left or join our mailing lists to share your comments, ask questions or provide suggestions. We can't do this without volunteers like you.
GCD Convention SceneThe GCD has been celebrating our 20th Anniversary with comic convention appearances. Join our volunteers at the Baltimore Comic-Con Baltimore, MD (5-7 September).
We also have members wearing their t-shirts and handing out flyers at a few more shows across the US and Europe. Check out our Facebook Events Page for a full list, and let us know which show we will see you at.
475,000 covers uploaded!
Check out the cover which is from Una Criada Estupenda #15 (Editorial Novaro, 1968 Series), a series from Mexico.
Take a look at our international statistics to see what else the GCD's been up to.
New GCD LogoWe have a new logo to help mark our 20th Anniversary! It is our first major design change since 1999 and will be seen on our t-shirts and convention gear throughout the year. We would like to thank Brian Saner Lamken for submitting his winning design and HippieBoy Design for applying those finishing touches. We hope you like it as much as we do!
GCD Comics Timeline
Sprang submitted art samples to DC Comics editor Whitney Ellsworth, who assigned him a Batman story in 1941. Sprang's first published Batman work was the Batman and Robin figures on the cover of Batman #18 (Aug.-Sept. 1943), reproduced from the art for page 13 of the later-published Detective Comics #84 (Feb. 1944). Sprang's first original published Batman work, and first interior-story work, appeared in Batman #19 (Oct.-Nov. 1943), for which he penciled and inked the cover and the first three Batman stories, and penciled the fourth Batman story, inked by Norm Fallon. Like all Batman artists of the time, Sprang went uncredited as a ghost artist for Kane.
Sprang's work was first reprinted in 1961, and nearly all subsequent Batman collections have contained at least one of his efforts. However, his name never appeared on his Batman work during his career, due to stipulations in Bob Kane's contract. These stated that Kane's name would remain on the strip, regardless of whether he drew any particular story, and this restriction remained in place until the mid-1960s. It was subsequently revealed, however, that Sprang was Kane's favorite "ghost".
Dick Sprang in the Grand Comics Database:
Prior to working for Western, he had worked for the Walt Disney Company, doing animation work for Make Mine Music and some Pluto.
He would turn the Tarzan series over to Russ Manning in 1965 due to failing health.
In 2009, Dark Horse Comics announced an archive reprint series of his work on Tarzan entitled Tarzan: The Jesse Marsh Years.
Jesse Marsh in the Grand Comics Database:
He entered the workshop of Rino Albertarelli, one of the main Italian comic book artists of the time, debuting in the 1950s with the magazine Zorro; he also provided covers for magazines of the publisher Fratelli Spada. Other Buzzelli comics of the time include Susan Bill, Alex l'eroe dello spazio, Bill dei Marines, Bambola and Dray Tigre .
Later he moved to England, where he produced the strip Angélique for the Daily Mirror. After his return to Italy, he initially devoted himself to painting. He returned to comics with a personal project, La rivolta dei racchi ("The Revolt of the Ugly", 1966), a fantasy history containing a sarcastic metaphor of the class struggle. He soon established himself as one of the most praised comics artists in France and, later, also in Italy, with other stories such as I Labirinti (1970), Zil Zelub (1972), Annalisa e il diavolo (1973), L'intervista (1975), L'Agnone (1977), La guerra videologica (1978), all mixing social themes with fantastic and dream-like atmospheres.
In 1973 he received the Yellow Kid Prize as best illustrator and author in the Lucca Comics convention, followed in 1979 by the French equivalent, the Crayon d'Or. He then started to collaborate with magazines and newspapers. Under the pseudonym of Blotz he created several erotic illustration published in France in Charlie Mensuel as well as the collections Démons and Buzzelliades.
In 1976 Buzzelli illustrated L'uomo del Bengala for Sergio Bonelli Editore; for the same publication in 1985 he drew the first giant-size volume of Tex Special, written by Claudio Nizzi (1985).
Guido Buzzelli in the Grand Comics Database:
After graduating from the Sorbonne, Christin pursued graduate studies in political science at SciencesPo and became a professor of French literature at the University of Utah, Salt Lake City. His first comics story, Le Rhum du Punch, illustrated by his childhood friend Jean-Claude Mézières, was published in 1966 in Pilote magazine. Christin returned to France the following year to join the faculty of the University of Bordeaux. That year he again collaborated with Mézières to create the science-fiction series Valérian and Laureline for Pilote. The first episode was Les Mauvais Rêves (Bad Dreams).
In addition to the ongoing Valerian, Christin has written several other comics one-shots, including The City That Didn't Exist (Le Ville qui n'existe pas), The Black Order Brigade (Les Phalanges de l'ordre noir) and The Hunting Party (Partie de chasse) (all illustrated by Enki Bilal). Among the many European comics artist he has collaborated with are Enki Bilal, Jacques Tardi, Alexis, Raymond Poïvet, Jijé, Annie Goetzinger, Daniel Ceppi, and François Boucq. He has also written screenplays and science-fiction novels.
Pierre Christin in the Grand Comics Database:
Ernie Chan was born Ernie Chua due to what he called "a typographical error on my birth certificate that I had to use until I had a chance to change it to 'Chan' when I got my [U.S.] citizenship in '76." He migrated to the United States in 1970, and became a citizen in 1976. For a number of years, he worked under the name Ernie Chua, but he was later credited as Ernie Chan. He studied with John Buscema, and also worked with him as the inker on Conan during the 1970s. He also inked the art of Buscema's brother Sal on The Incredible Hulk.
Chan broke into American comics in 1972 with DC, as a penciler on horror/mystery titles like Ghosts, House of Mystery, and The Unexpected. By 1974, he was working regularly for Marvel on Conan the Barbarian. From 1975–1976, Chan worked exclusively for DC, including the artwork for Claw the Unconquered, written by David Michelinie. Under the name Chua, he was DC Comic's primary cover artist from approximately 1975 to 1977.
Chan pencilled several issues of Conan and Doctor Strange, and worked on Kull the Destroyer in 1977 and Power Man in the 1980s. From about 1978 onward, he worked almost exclusively for Marvel, in the 1980s focusing on Conan.
Ernie Chan in the Grand Comics Database:
After a brief acting career, Scott decided in 2001 to become a comic book artist. Her first comics work were painted covers for a series titled The Watch published in Australia by Phosphorescent Comics. In 2002, she traveled to the San Diego Comic-Con International to begin making contacts in the U.S. comics industry. In 2003, she obtained work from Top Cow Comics which in turn led to her being hired by DC Comics. Her first work in the U.S. market appeared in Star Wars: Empire #26 (October 2004) published by Dark Horse Comics. In December 2005, Wizard magazine featured Scott as a "Talent to Watch". At DC, she collaborated with writer Gail Simone on Birds of Prey and Secret Six. In 2010, she drew the Wonder Woman tie-in to Blackest Night. In July 2010, Scott was announced as the artist of the Teen Titans starting with issue #88 and she drew the series until the end of its run with issue #100 (October 2011). Scott penciled Superman vol 3 issues #3, 5, and 6. In January 2012, DC announced Scott and writer James Robinson as the creative team of Earth 2, a new series focusing on the Justice Society of America. Scott's work on that series has been described as her "mainstream breakthrough".
Nicola Scott in the Grand Comics Database:
The Three Stooges were an American vaudeville and comedy act of the mid–20th century (1930–1975) best known for their numerous short subject films, still syndicated to television. Their hallmark was physical farce and slapstick. In films, the Stooges were commonly known by their first names: "Moe, Larry, and Curly" or "Moe, Larry, and Shemp", among other lineups depending on the films; there were six or seven stooges. Moe and Larry were always present until the very last years of the ensemble's forty-plus-year run.
Over the years, several Three Stooges comics were produced.
St. John Publications published the first Three Stooges comics in 1949 with 2 issues, then again in 1953–54 with 7 issues.
Dell Comics published a Three Stooges series first as one-shots in their Four Color Comics line for five issues, then gave them a numbered series for four more issues (#6–9). With #10, the title would be published by Gold Key Comics. Under Gold Key, the series lasted through issue #55 in 1972.
Gold Key Comics then published the Little Stooges series (7 issues, 1972–74) with story and art by Norman Maurer, Moe's son-in-law. This series featured the adventures of three fictional sons of the Three Stooges, as sort of modern-day teen-age versions of the characters.
Eclipse Comics published the Three-D Three Stooges series (3 issues, 1986–1987) which reprinted stories from the St. John Publications series.
The Three Stooges in the Grand Comics Database:
Xenozoic Tales is an alternative comic book by Mark Schultz set in a post-apocalyptic future. Publication began in 1986 with the story "Xenozoic!" included in the comic anthology Death Rattle. This was shortly followed by Xenozoic Tales #1 in February 1987. The comic series ran for 14 issues, and has been reprinted by several publishers, including Kitchen Sink Press, Marvel, and Dark Horse.
The series proved moderately successful, and under the title Cadillacs and Dinosaurs, the series spawned a cartoon series premiered on CBS, an arcade game from Capcom, a home video game from Rocket Science Games, action figures, trading cards, candy bars, and a Twilight 2000 system role-playing game. The comic book reprints from Kitchen Sink and Marvel also used the Cadillacs and Dinosaurs title.
The title "Cadillacs and Dinosaurs" and the likenesses of classic Cadillac automobiles were used with the consent of General Motors, who holds the phrase "Cadillacs and Dinosaurs" as a trademark and has licensed it for the comic, the videogame and the animated series.
Xenozoic Tales in the Grand Comics Database:
Superman's Girl Friend, Lois Lane in the Grand Comics Database:
What If, sometimes rendered as What If...?, is a comic book from Marvel Comics which was published in nine series (volumes). The narrative thread of each series is based on an alternative situation to the one established in the mainstream continuity. The characters and events in each series are treated as being independent from the mainstream continuity of the Marvel Universe.
From July 1989 to November 1998, Marvel published 114 monthly What If issues. The second series revisited and revised ideas from Volume 1. In Volume 2, stories could span multiple issues (the Volume 1 stories were contained within a single issue). Also, sometimes, the Volume 2 stories would offer multiple plots and endings. The reader could decide which to adopt. For example, in What If the War Machine Had Not Destroyed the Living Laser?, three endings were offered. The humorous aspect of Volume 1 was retained through Volume 2 culminating in issue #34, What If No One Was Watching the Watcher? which was humorous throughout.
The What if format became well known. By issue #87, direct reference to the plot divergence was not required. Instead, the issue cover art closely, but not exactly, resembled the corresponding mainstream story. The What if logo was enough to denote its "alternate universe" status. In issue #105, What If introduced Spider-Girl. The new character was popular enough for a spin off series. From this, the MC2 line of publications were developed.
What If...? Volume 2 in the Grand Comics Database:
1 million English storiesWhile our international content is steadily growing, we reached for English language stories an even big number: 1 million story sequences!
100,000 Norwegian storiesNorwegian is the second language to reach 100,000 stories!
Take a look at our international statistics to see what else the GCD's been up to.
New Features for BrandsWe recently deployed changes in our handling of brands. Like before we store for each issue which emblem of a brand is used. New is the grouping of different emblems together into one brand group. For example, see the brand group for DC, which collects all the different emblems used over time by DC.
Publisher's Age GuidelinesAt the same time we also introduced a new field recording any age designations or ratings that are supplied by the publisher on a comic.
How to help ?There are several ways in which you can help us to improve our site and its content.
- You can provide missing data, update existing data, or upload cover scans. Just register an account with us, and you can start contributing.
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gcd-tech group or visit our technical documentation if you
can help with any of these roles:
- Python / Django programming
- Elasticsearch search server together with Haystack
- Web Services API
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3,967 indicia publishers
35,832 variant issues
200,376 issue indexes