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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.
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!
GCD Comics Timeline
TV and comics scripter Mark Evanier summarized Craig's career:
"Chase was born in Texas and moved to Los Angeles in the thirties to get into the animation business. His fellow Texan, Tex Avery, gave him a job in the story unit at Warner Brothers, where he worked for some time without—for some reason—ever getting a screen credit. After a few years, he decided to turn his attention to print cartooning and left... only to be quickly tapped by Western Printing and Lithography to write and draw stories for its first Bugs Bunny comics. Chase produced over half of the first issue of Looney Tunes and Merrie Melodies comics, issued under the Dell label...Western soon hired him as an editor and, through the mid-seventies, he worked out of their Los Angeles office, editing (at one point) a comic per day, at a time when it was not uncommon for one of their comics to sell over a million copies. He was the editor who kept Carl Barks producing Donald Duck and Uncle Scrooge stories, and Paul Murry doing Mickey Mouse and so many others."
For Dell's Disney titles, he also scripted such characters as the Little Bad Wolf, Brer Rabbit, Bongo and José Carioca. Craig was the editor of Dell/Western's Disney titles, including Walt Disney's Comics and Stories, Uncle Scrooge and Chip 'n' Dale.
In the 1960s, he was the Gold Key editor on Tarzan, Magnus Robot Fighter and Korak, Son of Tarzan. In the late 1970s, he was writer for Marvel's Hanna-Barbera titles.
Chase Craig in the Grand Comics Database:
Cole's comic book career started in the early 1940s, mainly as a cover artist for titles such as Suspense Comics (Et-Es-Go Magazines) and Contact Comics (Aviation Press). He soon became known for his distinctive covers: examples include the covers to Mask Comics #1, Mask Comics #2 (Rural Home), Contact Comics #12, and Captain Flight Comics #11 (Four Star Publications). An avid science fiction fan, Cole was known for slipping in sci-fi elements even when they weren't appropriate, such as rocket ships and ray guns appearing on the covers of Captain Flight Comics and Contact Comics.
From 1942–1948, Cole ran his own comics studio, often packaging work for a variety of publishers.
In 1949, publisher Novelty Press sold its characters and artwork to Cole, who was the cover artist for Novelty's Blue Bolt Comics. Using his new assets, Cole began Star Publications, which operated from 1949 to 1955.
After the closure of Star, Cole continued doing cover illustrations, many for Classics Illustrated Junior. In the early 1960s, Cole was art director and editor at Dell Comics.
An Inkpot Award recipient in 1981, Cole was posthumously inducted into the Will Eisner Award Hall of Fame in 1999.
L.B. Cole in the Grand Comics Database:
In 1940, he and writer-editor Joe Simon created the highly successful superhero character Captain America for Timely Comics, predecessor of Marvel Comics. During the 1940s, Kirby, generally teamed with Simon, created numerous characters for that company and for National Comics, the company that later became DC Comics.
After serving in World War II, Kirby returned to comics and worked in a variety of genres. He produced work for a number of publishers, including DC, Harvey, Hillman, and Crestwood, where he and Simon created the genre of romance comics. Kirby ultimately found himself at Atlas Comics, soon to become Marvel. There, in the 1960s, he and writer-editor Stan Lee co-created many of Marvel's major characters, including the Fantastic Four, the X-Men, and the Hulk. Despite the high sales and critical acclaim of the Lee-Kirby titles, Kirby felt treated unfairly, and left the company in 1970 for rival DC.
There Kirby created his Fourth World saga. While these series proved commercially unsuccessful and were canceled, the Fourth World's New Gods have continued as a significant part of the DC Universe. Kirby returned to Marvel briefly in the mid-to-late 1970s, then ventured into television animation and independent comics. Kirby in 1987 was one of the three inaugural inductees of the Will Eisner Comic Book Hall of Fame.
Jack Kirby in the Grand Comics Database:
Hester's pencilling credits include Swamp Thing, Brave New World, Flinch, Ultimate Marvel Team-Up, Clerks: The Lost Scene, The Crow: Waking Nightmares, The Wretch (nominated for the 1997 Eisner Award for Best New Series), Aliens: Purge, and Green Arrow.
During his run on Green Arrow, he created the characters Mia Dearden and Onomatopoeia with writer Kevin Smith as well as Constantine Drakon with writer Judd Winick.
Hester co-created Uncle Slam and Firedog with his Green Arrow collaborator, artist Ande Parks. He also created El Diablo, a new character (with a common name in DC Comics) who debuted in an eponymous limited series.
Hester wrote the new adventures of Golden Age hero The Black Terror for Dynamite Entertainment, based on plot ideas by Alex Ross, as part of the Project Superpowers Universe. He also wrote DC's Wonder Woman, based on the notes and outline by J. Michael Straczynski, after Straczynski left the title.
Phil Hester in the Grand Comics Database:
Parker grew up in Savannah, Georgia. He didn't read a lot of comic books as a child — instead, his artistic influences include Little Golden Books and the comic strips Mutt and Jeff and Little Orphan Annie. (He also lists Will Elder, Wally Wood, Carl Barks, Harvey Kurtzman, Roy Crane, and Jack Davis as influences.) Parker earned his Bachelor of Fine Arts at the University of Georgia, and his Master of Fine Arts at the Pratt Institute.
Parker is widely known as the artist of MTV's Beavis and Butt-Head comic book, published by Marvel from 1994 to 1996.
Parker got his start in the comics industry as a letterer for Marvel Comics, starting in the late 1970s. Parker was one of the four original artists of The Pekar Project (SMITH Magazine, 2009–2010), which brought the writing of the American autobiographical comics pioneer Harvey Pekar to the web.
He also drew the introductory pages of Tales from the Crypt for Papercutz from 2007 to 2009. Parker has illustrated a series of graphic novel parodies (written by Stefan Petrucha) for Papercutz Slices (Papercutz) — titles include Diary of a Stinky Dead Kid (2009), Harry Potty and The Deathly Boring (2010), Breaking Down (2011) (a parody of the Twilight series), Percy Jerkson and The Ovolactovegetarians (2011), and The Hunger Pains (2012).
He wrote and illustrated his own graphic novel, Deadboy, in 2010.
Rick Parker in the Grand Comics Database:
In 1969 Kitchen decided to self-publish his comics and cartoons in the magazine Mom’s Homemade Comics, inspired in part by Bijou Funnies and Zap Comix. The selling out of the 4000 print run inspired him further, and in 1970 he founded Kitchen Sink Press.
Kitchen began to publish works by such cartoonists as Howard Cruse, Robert Crumb, Art Spiegelman, Justin Green, Trina Robbins and S. Clay Wilson, and he soon expanded his operations, launching Krupp Comic Works, a parent organization into which he placed ownership of Kitchen Sink Press.
In the 1980's through the early 1990's, Kitchen Sink Press would publish industry legends such as Will Eisner, Harvey Kurtzman, Al Capp, and award-winning alternative creators such as Mark Schultz, Monte Beauchamp, and Charles Burns.
In 1993, Kitchen Sink Press merged with Kevin Eastman's Tundra Publishing. It would go on to publish works by Alan Moore, Neil Gaiman, James O'Barr, Don Simpson, and Scott McCloud winning numerous Eisner and Harvey Awards.
Kitchen's founding of the Comic Book Legal Defense Fund occurred in 1986, after comic store manager Michael Correa was charged with possession and sale of obscene material. Since two of the works were published by Kitchen Sink Press, Kitchen felt some responsibility for Correa's predicament, so he set about raising funds for the defense of Correa, who saw his conviction overturned on appeal. Kitchen used surplus funds to incorporate the fund as a non-profit charitable organization in 1990. Kitchen served as the fund's president from its inception until 2004.
Kitchen Sink Press in the Grand Comics Database:
At 14, Perlin began studying art under Burne Hogarth, who taught small private classes prior to co-founding the Cartoonists and Illustrators School. In 1951, Perlin was a penciller on Will Eisner's The Spirit. Perlin did artwork for Harvey Comics' war and horror titles in the 1950s.
In 1974 he began a long association with Marvel, where he was a full-time penciller until 1987. From 1980–1986, Perlin was the regular (and longest-serving) artist on Defenders. In addition to his work on The Defenders, Werewolf by Night, and Ghost Rider, Perlin penciled Transformers for two years. Perlin's Werewolf run introduced the character Moon Knight, who he co-created with writer Doug Moench. In the late 1980s Perlin became a managing art director at Marvel, overseeing younger artists.
Perlin left the Marvel managing art direction position in 1991 to became a major part of Jim Shooter's Valiant Comics team. Besides penciling the popular series Solar, Man of the Atom and Bloodshot, Perlin also edited (among others) titles like Shadowman, Magnus Robot Fighter, and Solar. Shortly after Valiant's mid-1990s takeover by Acclaim Entertainment, Perlin went into semi-retirement.
Perlin won the 1997 National Cartoonists Society Comic Books Award.
Don Perlin in the Grand Comics Database:
Born in Recanati, the son of a silversmith and a seamstress, Piffarerio studied at the Brera Academy, where he knew Gino Gavioli, with whom he founded "Gamma Film", a company considered a pioneer in the field of Italian animation. With Gavioli and Gamma Film Piffarerio realized several animation shorts for Carosello, as well as The Long Green Sock (Italian: La lunga calza verde), a 1961 medium length film about the history of Italy written by Cesare Zavattini.
Piffarerio started his activity as a comics artist while being at the Brera Academy, creating the comic character Capitan Falco in 1943. He collaborated with Max Bunker to a number of comics series, such as Viva l'Italia (1961), Maschera Nera (1963), El Gringo (1965) and notably Alan Ford, he illustrated for about one hundred issues between 1975 and 1984. Piffarerio also collaborated with Enzo Biagi for his La storia d'Italia a fumetti, and was author of a number of comics adaptations of novels and historical biographies for Il Giornalino.
Paolo Piffarerio in the Grand Comics Database:
The fantasy magazine Weird Tales published the first cover art by Freas on its November 1950 issue: "The Piper" illustrating "The Third Shadow" by H. Russell Wakefield. His second was a year later in the same magazine, followed by several Planet Stories or Weird Tales covers and interior illustrations for three Gnome Press books in 1952. With his illustrating career underway, he continued to devise unique and imaginative concepts for other fantasy and science fiction magazines of that period. In a field where airbrushing is common practice, paintings by Freas are notable for his use of bold brush strokes, and a study of his work reveals his experimentation with a wide variety of tools and techniques.
Over the next five decades, he created covers for hundreds of books and magazines (and much more interior artwork), notably Astounding Science Fiction both before and after its title change to Analog—indeed, from 1953 to 2003. He started at Mad magazine in February 1957 and by July 1958 was the magazine's new cover artist; he painted most of its covers until October 1962 (featuring the iconic character, Alfred E. Neuman). He also created cover illustrations for DAW, Signet, Ballantine Books, Avon, all 58 Laser Books (which are now collectors' items), and over 90 covers for Ace books alone. He was editor and artist for the first ten Starblaze books.
Frank Kelly Freas in the Grand Comics Database:
Magnus, Robot Fighter in the Grand Comics Database:
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4,541 indicia publishers
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