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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
In 1939, pulp-magazine publisher Martin Goodman expanded into the newly emerging comic book field by buying content from comics packager Funnies, Inc.. His first effort, Marvel Comics #1 (cover-dated Oct. 1939), from his company Timely Publications, featured the first appearances of writer-artist Carl Burgos' android superhero, the Human Torch, and Paul Gustavson's costumed detective the Angel. As well, it contained the first generally available appearance of Bill Everett's mutant anti-hero Namor the Sub-Mariner.
Also included was Al Anders' Western hero the Masked Raider; the jungle lord Ka-Zar the Great with Ben Thompson adapting over the first five issues the story "King of Fang and Claw" by Bob Byrd; the non-continuing-character story "Jungle Terror," featuring an adventurer named Ken Masters, written by Tohm Dixon; "Now I'll Tell One", five single-panel, black-and-white gag cartoons by Fred Schwab, on the inside front cover; and a two-page prose story by Ray Gill, "Burning Rubber", about auto racing. A painted cover by veteran science fiction pulp artist Frank R. Paul featured the Human Torch, looking much different than in the interior story.
That initial comic quickly sold out 80,000 copies, prompting Goodman to produce a second printing, cover-dated November 1939 and identical except for a black bar in the inside-front-cover indicia over the October date, and the November date added at the end. That sold approximately 800,000 copies. With a hit on his hands, Goodman began assembling an in-house staff, hiring Funnies, Inc. writer-artist Joe Simon as editor. Simon brought along his collaborator, artist Jack Kirby, followed by artist Syd Shores.
Marvel Comics #1 in the Grand Comics Database:
Steranko formed Supergraphics where he published the magazine Comixscene (later retitled Mediascene, and finally Prevue). Bruzenak assisted Steranko on the first fifty issues of Comixscene/Prevue, as well as other concurrent projects, such as Marvel's official fan magazine, FOOM (Bruzenak was the associate editor); the comic book adaptation of the film Outland; and various paperback covers and posters. Bruzenak worked for Steranko for almost thirteen years.
Bruzenak eventually left Steranko's employ to embark on a freelance lettering career, landing the letterer job with Chaykin's American Flagg!.
Bruzenak's work on that title was more typography than simple lettering. The comic featured signage, multiple typefaces, robot type, and a mixture of formal type with balloon type for special effects. Bruzenak's lettering was so integral to the book, it virtually became a character of its own. Readers took notice — as did editors for other companies — and Bruzenak soon became the industry's first "celebrity letterer," getting more offers for jobs than he was able to take on — even with his famous non-stop work ethic.
In the 90s, Bruzenak worked steadily, often pairing with Michael T. Gilbert on his Mr. Monster comics, but his work was never as much in demand as it was during his mid-80s heyday.
Ken Bruzenak in the Grand Comics Database:
He was hired by DC Comics as part of the company's "Junior Woodchuck" program and became the assistant to editor Murray Boltinoff before being promoted to the post of editor himself. Harris wrote text articles and letters columns for various series and his first published comics story was "Political Rally Panic" in Isis #3 (February–March 1977).
Harris wrote several issues of Kamandi, an assignment he considered a personal favorite. As writer of the Wonder Woman comic book, he returned the series to a contemporary setting to reflect the timeframe change made from the World War II era to the present day in the television series. Harris was briefly writing every DC feature starring a female character. He and artist Trevor Von Eeden proposed an all-female superteam named the "Power Squad" to DC but the idea was not approved for publication.
In 1992, Harris and artist Joe Quesada co-created an updated version of the Golden Age character the Ray. At Marvel Comics, Harris co-created the character Annex in The Amazing Spider-Man Annual #27 and wrote a limited series featuring the new character the following year. In 1994, Harris wrote the graphic novel Batman: Castle of the Bat, painted by artist Bo Hampton. A Hulk and the Human Torch story written by Harris and drawn by Ditko in the 1980s was published by Marvel as Incredible Hulk and the Human Torch: From the Marvel Vault #1 in August 2011.
Jack C. Harris in the Grand Comics Database:
He started writing comics in 1969 in the Franco-Belgian comics magazine Pilote, initially illustrating short stories written by Jean Giraud and Serge de Beketch, before creating the political fiction story Rumeur sur le Rouergue from a scenario by Pierre Christin in 1972.
A highly versatile artist, Tardi successfully adapted novels by controversial writer Louis-Ferdinand Céline or crime novelist Léo Malet. In Malet's case, Tardi adapted his detective hero Nestor Burma into a series of critically acclaimed graphic novels, though he also wrote and drew original stories of his own.
Tardi also created one of French comics' most famous heroines, Adèle Blanc-Sec. This series recreates the Paris of early 20th century where the moody heroine encounters supernatural events, state plots, occult societies and experiments in cryogenics.
Tardi has produced many antiwar graphic novels and comics, mainly focusing on the collective European trauma of the First World War, and the pitfalls of patriotism spawned several albums (Adieu Brindavoine, C'était la guerre des tranchées, Le trou d'obus, Putain de Guerre...). His grandfather's involvement in the day-to-day horrors of trench warfare, seems to have had a deep influence to his artistic expression.
In January 2013, Tardi was nominated as a Chevalier in France's Legion of Honour, the country's highest distinction. However, he turned down the distinction, citing that he will "remain a free man and not be held hostage by any power whatsoever."
Jacques Tardi in the Grand Comics Database:
Crumb first rose to prominence after the 1968 debut of Zap Comix, which was the first successful publication of the underground comix era. Countercultural characters such as Fritz the Cat and Mr. Natural, and the images from his "Keep on Truckin'" strip, were among his popular creations. Following the decline of the underground, he moved towards biographical and autobiographical subjects, while refining his drawing style, a heavily crosshatched pen-and-ink style inspired by late 19th- and early 20th-century cartooning. Much of his work appeared in a magazine he founded, Weirdo (1981–1993), which was one of the most prominent publications of the alternative comics era. He is married to cartoonist Aline Kominsky-Crumb, with whom he has frequently collaborated.
In 1991, Crumb was inducted into the comic book industry's Will Eisner Comic Book Hall of Fame.
Robert Crumb in the Grand Comics Database:
The Monster has also been the subject of many comic book adaptations, ranging from the ridiculous (a 1960s series portraying The Monster as a superhero), to more straightforward interpretations of Shelley's work.
from https://en.wikipedia.org/wiki/Mary_Shelley and https://en.wikipedia.org/wiki/Frankenstein_in_popular_culture#Comics
Frankenstein in the Grand Comics Database:
Haaland made her publishing debut in the student paper Universitas in 1995, but her breakthrough came with inclusion into the Norwegian magazine Larsons Gale Verden, featuring the cartoons of Gary Larson. Her work has since been syndicated to several magazines and newspapers, most notably Dagbladet, Dagsavisen and Bergens Tidende, although the latter has the distinction of having fired her over a censorship dispute. The books containing her work sell well in Norway and are printed in multiple editions.
For several years Haaland's strip ran under no title, and featured no named characters. Eventually, recurring characters became named, such as Louïs who started appearing in 1996, Lolito first featured in 1997, Melis in 1999, and Soto & Simson in 2003. The strip was finally given the name Piray in 2005. Following a long run as supporting strip in Larsons Gale Verden, Haaland changed publisher, and is currently featured in the monthly magazines dedicated to Bud Grace's Ernie and Frode Øverli's Pondus.
Karine Haaland in the Grand Comics Database:
Pearson is also one of the original members of the Atlanta, Georgia-based Gaijin Studios, and has participated in several Gaijin Studios-related projects.
Pearson debuted in comics with a back-up story in Legion of Super-Heroes #22 in 1991, and Pearson described series writer Keith Giffen one of his mentors.
In 1992, Gaijin Studios were in talks with Image Comics to do an 11-issue anthology series entitled Ground Zero, featuring the work of the current studio members. The series was to have debuted Pearson's Body Bags, but Image ultimately passed on the series. Pearson continued developing the concept of Body Bags, and it ultimately saw print as a four issue mini-series as the debut title for the Blanc Noir line of titles produced by Gaijin Studios for Dark Horse Comics.
In 2005, 12 Gauge Comics reprinted the original Body Bags four issue mini-series in a collected edition. Later, they released the first new Body Bags material in years, Body Bags: 3 The Hard Way. In addition to publishing Body Bags through 12 Gauge, he is also on staff as the Director of Development.
Later in 2008, the Body Bags: One Shot special was released, with 48 pages of all-new material. In 2009, he drew the Joker's Asylum: Penguin one-shot for DC Comics.
Jason Pearson in the Grand Comics Database:
Star Spangled War Stories in the Grand Comics Database:
He is best known for his work on the Donald Duck comic strip, but he started his career lettering the Mickey Mouse strips (March 1931 – July 1932), and drew the Bucky Bug comics in 1932 as well as Silly Symphonies pages from 1932 to 1939. Taliaferro co-created a number of characters, including Huey, Dewey and Louie, Bolivar, Grandma Duck, and arguably Daisy Duck. He drew Donald Duck comic strips from 1938 until his death in 1969 in Glendale, California.
After his family moved to Glendale, Al studied art at the Institute of Art in California. On January 5, 1931, he was hired in Disney Studios as an animator, but soon transferred to the comic strip department. At its height the Donald Duck comic strip was published in 322 newspapers.
While many of Taliaferro's strips were reprinted in Disney comic books, in only a few instances did he do original artwork for comic books. Among these was the Cheerios Premium Giveaway Donald Duck: Counter Spy (1947) and the cover of Walt Disney's Comics and Stories #107 (August 1949) . Two Children's books with Disney characters he illustrated are Donald and His Cat Troubles (1948) and Donald Duck and the Hidden Gold (1951).
Al Taliaferro in the Grand Comics Database:
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4,548 indicia publishers
46,055 variant issues
224,632 issue indexes