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Upgrade to the DatabaseWe deployed some changes how we handle series in February.
- series now have tracking links which are to replace the tracking notes, e.g. WildC.A.T.s (Image, 1995 Series)
- series can be marked as a singleton series, e.g. Sam Zabel and the Magic Pen
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!
Comics listed by on-sale date!
We added a page to list the issues which are on-sale for a given week. You can help us keeping these lists up to date by adding the on-sale date for a given issue, or even adding the issue if not already in the database. For US comics the on-sale dates can typically be determined from the shipping lists at PREVIEWSworld or ComicList.
GCD Comics Timeline
Friedrich wrote stories for a number of DC publications, including Teen Titans, Challengers of the Unknown, Detective Comics and The Flash. With penciler Jerry Grandenetti in Showcase #80 (Feb. 1969), he reintroduced the supernatural-mystery story narrator the Phantom Stranger, created by John Broome and Carmine Infantino in 1952. His first extended run on a title was on the superhero-team series Justice League of America from #86-99 (Dec. 1970 - June 1972).
Moving to Marvel after four years, Friedrich scripted every issue of Iron Man but three from #48-81 (July 1972 - Dec. 1975). In issue #55 (Feb. 1973), he co-scripted the introduction of the popular characters Thanos and Drax the Destroyer, created and co-scripted by artist Jim Starlin.
Other work includes issues of Marvel's Captain America, Captain Marvel, The Power of Warlock, "Ka-Zar" in Astonishing Tales, "Ant-Man" in Marvel Feature, and The Outlaw Kid, writing a short-lived revival of Doug Wildey's Western series from Marvel's 1950s predecessor, Atlas Comics.
Friedrich's most notable contribution, however, may be his 1970s anthology series Star*Reach, a forerunner of the independently produced comics that proliferated, beginning in the 1980s, with the rise of the "direct market" of comic-book stores. Star*Reach styled itself as a "ground-level" comic book — not an underground comix publication, but also not mainstream or "overground". Eighteen issues were released between 1974 and 1979, with Friedrich's same-name publishing company expanding to other series, including Quack; Imagine; and Lee Marrs' Pudge, Girl Blimp, along with a number of one-shot comics, before closing down....
Anderson has published over 120 books, over 50 of which have been on US and international bestseller lists, and he has more than 23 million books in print worldwide.
Kevin J. Anderson in the Grand Comics Database:
When asked which of his stories was a favorite in several interviews Barks cited the ten-pager in Walt Disney's Comics and Stories #146 (Nov. 1952) in which Donald tells the story of the chain of unfortunate events that took place when he owned a chicken farm in a town which subsequently was renamed Omelet. Likely one reason it was a favorite is that it was inspired by Barks' own experiences in the poultry business.
Barks's stories (whether humorous adventures or domestic comedies) often exhibited a wry, dark irony born of hard experience. The ten-pagers showcased Donald as everyman, struggling against the cruel bumps and bruises of everyday life with the nephews often acting as a Greek chorus commenting on the unfolding disasters Donald wrought upon himself. Yet while seemingly defeatist in tone, the humanity of the characters shines through in their persistence despite the obstacles. These stories found popularity not only among young children but adults as well. Despite the fact that Barks had done little traveling his adventure stories often had the duck clan globe trotting to the most remote or spectacular of places. This allowed Barks to indulge his penchant for elaborate backgrounds that hinted at his thwarted ambitions of doing realistic stories in the vein of Hal Foster's Prince Valiant.
In 1987, Barks was one of...
He entered the comic strip field in 1950 and worked on several strips, including Kerry Drake, Little Iodine and Bunny. In comic books he was the last artist doing Little Lulu before it was cancelled in 1984. He took over The Katzenjammer Kids in 1986 and the Popeye Sunday strip in 1994. An extensive interview with Eisman on his career appeared in Hogan's Alley #15 (2007).
In 1976, Eisman became a teacher at the Joe Kubert School of Cartoon and Graphic Art. On June 27, 2004, he married Florenz Greenberg. Their wedding invitation was a comic strip with Popeye and Olive Oyl.
Eisman won the 1975 National Cartoonists Society's Award for Best Humor Comic Book Cartoonist (for Gold Key's Nancy comic books). In 1983, he received an Award for his work on the Little Lulu comic book.
Hy Eisman in the Grand Comics Database:
Verheiden's introduction into writing comics came in June 1987, when he penned The American, which was published by Dark Horse Comics in its second year of operation. Starting in March of the following year, he wrote what was to be the first of many Verheiden/Dark Horse comics based on the 20th Century Fox film-series Aliens, and comics based on the similarly licensed property Predator soon followed.
In January 1989, he wrote the first of several stories featuring Superman for DC Comics' then-weekly title Action Comics, from #635. He has also written stories featuring popular icons like The Phantom, and contributed to the lauded A1 anthology. This was followed by Stalkers, a 12 issues series for Marvel Comics' Epic Comics imprint.
Verheiden has also contributed to scripts for the feature films The Mask, Timecop (he also wrote the Dark Horse comics adaptation of the film) and for the Smallville television-show. He was also supervising, then co-executive producer for Smallville during the first three seasons, as well as one of the writers on DC's Smallville comic, based on the series.
His Phantom stories featured in a 13-issue maxi-series from DC Comics (following a 4-issue Peter David written mini-series) and took on 'real-world issues', such as poisoning, illegal weapon trading, racism, and toxic dumping. The stories usually took a more psychological approach than the Lee Falk written comic strips. Luke McDonnell was the regular artist.
Mark Verheiden in the Grand Comics Database:
His rare forays into interior art also include Batman: The Killing Joke, with UK-based writer Alan Moore, and a self-penned Batman: Black and White story. Bolland remains in high demand a cover artist, producing the vast majority of his work for DC Comics.
Brian Bolland in the Grand Comics Database:
During the 1960s, García-López worked for Charlton Comics. In 1974 he moved to New York, where he met DC Comics editor Joe Orlando. His first interior art credit for DC was June 1975's "Nightmare In Gold" back-up in Action Comics #448, where he inked the pencils of artist Dick Dillin. The following month, he inked the pencils of Curt Swan on a "Private Life of Clark Kent" backup story in Superman #289, before graduating to full pencils on a back-up story (written by E. Nelson Bridwell in Detective Comics #452 (October 1975). The following month, García-López and writer Gerry Conway created the Hercules Unbound series and in April 1977, he and writer Michael Fleisher launched the Jonah Hex ongoing series. García-López and Conway collaborated on a Superman vs. Wonder Woman story in All-New Collectors' Edition #C-54 (1978). DC Comics Presents, a team-up title starring Superman was launched in 1978 by writer Martin Pasko and García-López. He drew a DC-Marvel crossover between Batman and the Hulk in DC Special Series #27 (Fall 1981). He penciled five issues of The New Teen Titans in 1985 and writer Marv Wolfman later commented that "I knew that I had this incredible artist who could draw almost anything that I wanted...So I decided to make the story just the biggest spectacle I could come up with."
Other notable works include Atari Force, Cinder and Ashe, Road to Perdition, Deadman, and various DC superheroes. His work on Twilight has been praised, receiving an Eisner Award nomination.
José Luis García-López in the Grand Comics Database:
Weirdo was a magazine-sized comics anthology created by Robert Crumb and published by Last Gasp from 1981 to 1993.
Weirdo served as a "low art" counterpoint to its contemporary highbrow Raw. Early issues of Weirdo reflect Crumb's interests at the time – outsider art, fumetti, Church of the SubGenius-type anti-propaganda and assorted "weirdness." It also introduced artists such as Peter Bagge, Dori Seda and Dennis (Stickboy) Worden.
With issue #10, Crumb later handed over the editing reins to Bagge; with issue #18, the reins went to Crumb's wife, cartoonist Aline Kominsky-Crumb (except for issue #25, which was again edited by Bagge). The three editorial tenures were known respectively as "Personal Confessions," the "Coming of the Bad Boys," and the "Twisted Sisters."
Weirdo's final issue, #28, an internationally themed 68-page giant titled Verre D'eau (in French, "glass of water"), was published in 1993.
Weirdo in the Grand Comics Database:
Badger in the Grand Comics Database:
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- Stan Laurel en Oliver Hardy [Stan Laurel & Oliver Hardy] #30 (JuniorPress)
- Roodbaard #20 - De vermisten van de Zwarte Valk (Novedi)
- Por Dios #8 - Virl: Verbanning naar Cion (Don Lawrence Collection)
- Love Story Picture Library #562 (IPC)
- Star Love Stories in Pictures #624 (D.C. Thomson)
4,356 indicia publishers
41,551 variant issues
214,999 issue indexes