Welcome to the Grand Comics Database!
a 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.
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
Evanier was president of a Los Angeles comic book club from 1966-69. In 1967, he suggested the titles of the officers of the Merry Marvel Marching Society. He made his first professional sale in 1969. The same year, through a mutual association with a Marvel Comics mail-order firm, he was taken on as a production assistant to Jack Kirby. Several years later Evanier began writing foreign comic books for the Walt Disney Studio Program, then from 1972 to 1976 wrote scripts for Gold Key Comics, along with comics for the Edgar Rice Burroughs estate.
In 1974 he teamed with writer Dennis Palumbo and wrote for a number of television series, including The Nancy Walker Show, The McLean Stevenson Show and Welcome Back, Kotter.
He subsequently wrote for the Hanna-Barbera comic book division and a number of variety shows and specials, and he began writing for animated cartoon shows, including Scooby-Doo and Scrappy-Doo, The Plastic Man Comedy/Adventure Show, Thundarr the Barbarian, The ABC Weekend Special, Richie Rich, The Wuzzles, and Dungeons & Dragons. But he is most noted in animation for his work on Garfield and Friends, a seven-season series for which Evanier wrote or co-wrote nearly every episode and acted as voice recording director. Since 2008, Evanier has been the co-writer and voice director of The Garfield Show, which went on to win an Daytime Emmy Award for June Foray.
He has produced a number of comic books, including Blackhawk, Crossfire and Hollywood Superstars (with Dan Spiegle), Groo the Wanderer (with Sergio Aragonés), and The DNAgents (with Will Meugniot). For the Spiegle comics, Evanier contributed lengthy essays on the entertainment...
Geisel published 46 children's books, which were often characterized by imaginative characters, rhyme, and frequent use of anapestic meter. His most celebrated books include the bestselling Green Eggs and Ham, The Cat in the Hat, One Fish Two Fish Red Fish Blue Fish, Horton Hatches the Egg, Horton Hears a Who!, and How the Grinch Stole Christmas!. Numerous adaptations of his work have been created, including 11 television specials, four feature films, a Broadway musical and four television series. He won the Lewis Carroll Shelf Award in 1958 for Horton Hatches the Egg and again in 1961 for And to Think That I Saw It on Mulberry Street. Geisel also worked as an illustrator for advertising campaigns, most notably for Flit and Standard Oil, and as a political cartoonist for PM, a New York City newspaper. During World War II, he worked in an animation department of the United States Army, where he wrote Design for Death, a film that later won the 1947 Academy Award for Documentary Feature.
Dr Seuss in the GCD: http://www.comics.org/credit/name/seuss/sort/chrono/
Mystery in Space is the name of two science fiction American comic book series published by DC Comics and a stand alone Vertigo anthology released in 2012. The first series ran for 110 issues from 1951 to 1966, with a further 7 issues continuing the numbering during a 1980s revival of the title. An 8-issue limited series began in 2006.
Together with Strange Adventures, Mystery In Space was one of DC Comics' major science fiction anthology series. It won a number of awards, including the 1962 Alley Award for "Best Book-Length Story" and the 1963 Alley Award for "Comic Displaying Best Interior Color Work". The title featured short science fiction stories and a number of continuing series, most written by many of the best-known comics and science fiction writers of the day, including John Broome, Gardner Fox, Jack Schiff, Otto Binder, and Edmond Hamilton. The artwork featured a considerable number of the 1950s and 1960s finest comics artists such as Carmine Infantino, Murphy Anderson, Gil Kane, Alex Toth, Bernard Sachs, Frank Frazetta and Virgil Finlay.
Sheena, Queen of the Jungle is a fictional American comic book jungle girl heroine, originally published primarily by Fiction House. She was the first female comic book character with her own title, with her 1937 (in Great Britain; 1938 in the United States) premiere preceding Wonder Woman #1 (cover-dated Dec. 1941). Sheena inspired a wealth of similar comic book jungle queens. She was predated in literature by Rima, the Jungle Girl, introduced in the 1904 William Henry Hudson novel Green Mansions.
Sheena debuted in Joshua B. Power's British magazine Wags #1, in 1937. She was created by Will Eisner and S. M. "Jerry" Iger of the comic-book packager Eisner & Iger, one of a handful of studios that produced comics on demand for publishers and syndicates, and whose client Editors Press Service distributed the feature to Wags. To help hide the fact their studio consisted only of themselves, the duo signed their Sheena strip with the pseudonym "W. Morgan Thomas". Eisner said an inspiration for the character's name was H. Rider Haggard's 1886 jungle-goddess novel She.
Sheena first appeared stateside in Fiction House's Jumbo Comics #1, and subsequently in every issue (Sept. 1938–April 1953), as well as in her groundbreaking, 18-issue spin-off, Sheena, Queen of the Jungle (Spring 1942–Winter 1952), the first comic book to title-star a female character. Sheena also appeared in Fiction House's Ka'a'nga #16 (Summer 1952) and the one-shot 3-D Sheena, Jungle Queen (1953)—the latter reprinted by Eclipse Comics as Sheena 3-D (Jan. 1985) and by Blackthorne Publishing as Sheena 3-D Special (May 1985). Blackthorne also published Jerry Iger's Classic Sheena (April 1985. Fiction House, originally a pulp magazine publisher, ran prose stories of its star heroine in the latter-day pulp Stories of Sheena, Queen of...
Joyce Brabner in the GCD: http://www.comics.org/credit/name/joyce%20brabner/sort/chrono/
Becoming the company's editorial director in 1952, in the mid-1950s, Donenfeld and publisher Liebowitz directed editor Julius Schwartz (whose roots lay in the science-fiction book market) to produce a one-shot Flash story in the try-out title Showcase. Instead of reviving the old character, Schwartz had writers Robert Kanigher and John Broome, penciler Carmine Infantino, and inker Joe Kubert create an entirely new super-speedster, updating and modernizing the Flash's civilian identity, costume, and origin with a science-fiction bent. The Flash's reimagining in Showcase #4 (October 1956) proved sufficiently popular that it soon led to a similar revamping of the Green Lantern character, the introduction of the modern all-star team Justice League of America (JLA), and many more superheroes, heralding what historians and fans call the Silver Age of comic books.
A 1966 Batman TV show on the ABC network sparked a temporary spike in comic book sales, and a brief fad for superheroes in Saturday morning animation (Filmation created most of DC's initial cartoons) and other media. DC significantly lightened the tone of many DC comics — particularly Batman and Detective Comics — to better complement the "camp" tone of the TV series. This tone coincided with the infamous "Go-Go Checks" checkerboard cover-dress which featured a black-and-white checkerboard strip at the top of each comic, a misguided attempt by then-managing editor Donenfeld to make DC's output "stand out on the newsracks."
During this period, Donenfeld perceived a trend in the industry that comics featuring a gorilla on the cover, regardless of the context or relevance, would...
He was posthumously inducted into the comic book industry's Will Eisner Comic Book Hall of Fame (1993) and the Jack Kirby Hall of Fame (1997).
William Gaines in the GCD: http://www.comics.org/credit/name/william%20gaines/sort/chrono/
EC in the GCD: http://www.comics.org/search/advanced/process/?target=cover&method=i...
Orzechowski's letters are almost perfectly square, with the exception of the letter "I." Everything has a solid, uniform look to it. Letters stand straight up and down, not at a tilt. They are all painstakingly the same height. Similarly, Orzechowski's standard word balloon outlines are meticulously uniform. He also helped popularize non-standard (non-bubble-shaped) designs for word balloons, to reflect different character voices (square for robots, jagged/dripping for demons, etc.). In the mid-1970s, while Marvel’s production boss and cover letterer Dan Crespi was developing a tight, attractive house style, Orzechowski was 3,000 miles away in California, "buried in design books." Orzechowski figured that "since the X-Men didn’t overlap the rest of the Marvel Universe," there was no reason not to draw influences from calligraphy, record jackets, old movie posters — everything except comics.
Early influences on Orzechoswki's distinctive style included the work of Alphonse Mucha, and the comics lettering of Artie Simek and Abe Kanegson. Orzechowski modeled his lettering on the Flash Gordon newspaper strips of the 1930s. Another influence was Robert Crumb's Zap Comix: Orzechowski recognized that Crumb’s title work was clearly derived from the brush techniques of that same era, the 1920s and '30s. Orzechowski studied everything of Crumb's (as well as the late 1960s DCs and Marvels), and developed a lettering style based on all of those influences.
Tom Orzechowski in the GCD: http://www.comics.org/credit/name/tom%20orzechowski/sort/chrono/
Drake was posthumously inducted into the Will Eisner Comic Book Hall of Fame in 2008.
Arnold Drake in the GCD: http://www.comics.org/credit/name/arnold%20drake/sort/chrono/
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4,323 indicia publishers
41,140 variant issues
213,014 issue indexes