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The International Comic Arts Forums

This is Daniel from the Grand Comics Database Board of Directors. I just returned from the 2016 International Comic Arts Forum (ICAF). It was well worth my time, and I can’t tell you how glad I am to have had the opportunity to attend. I want to especially thank the ICAF host, Qiana, for her time. She answered all my questions and introduced me to the audience, giving me a chance to speak. I want to also thank the Comic Studies Society President, Charles Hatfield, for his kind words to the conference about the GCD and our contributions.

The Grand Comics Database Project aspires to be the world's most comprehensive online comics database for comic readers, collectors, scholars, and professionals. In 2014, we ramped up our outreach to comic readers and collectors with a stronger presence at conventions, comics shops, and shows across North America and Europe. It is just as important for us to reach out to the scholars who use the GCD database for their research.

ICAF and the Comics Studies Society (CSS) are the types of forums that provide us another glimpse at what the database offers the entire comics community. It is my hope that we can strengthen our relationship with these institutions, learning how we might be able to better address their concerns and using their insight to improve what has already been a valuable resource.

What is ICAF? Started in 1995, ICAF is an annual conference dedicated to promoting the scholarly study and appreciation of comics. They actively seek collaboration with scholars, historians, critics, teachers, journalists, curators, artists, and comics professionals from around the world. I first heard of ICAF through fellow member and fellow convention boother Ray Bottorff. It was too intriguing to let it go, so I made the 443-mile journey to the University of South Carolina in the heart of Columbia, South Carolina (14–16 April 2016). If you want more information, I encourage you to visit http://www.internationalcomicartsforum.org/.

I also discovered The Comics Studies Society during my three day visit. The CSS “is the U.S.’s first learned society and professional association for comics researchers and teachers. It is an interdisciplinary society open to all comics scholars — whether working in the academy or independent — who share the goals of promoting the critical study of comics, improving comics teaching, and engaging in open and ongoing conversation about the comics world” (from the ICAF program). At least two GCD members are also members of the CSS, and I hope to see more in the future. You can learn more at http://www.comicssociety.org/.

I am neither a comics scholar or academic, but I found the panels interesting and understandable. The three days were busy from 0900 through 1700 (and sometimes later). Special guests included Cece Bell, Howard Cruse, Sanford Greene, Dominique Goblet, Gary Jackson, and Keith Knight. I was particularly impressed with the academic panels. There were a total of 14 panel presentations representing 39 colleges and universities. I was only able to attend 7. You can get details at http://www.internationalcomicartsforum.org/2016-schedule.html.

I will make every effort to go to another ICAF conference in the future. I will be looking into areas of mutual interest to ICAF and the GCD, and I will see what I can do to promote academic involvement from those scholars within our membership.

Thank you again to ICAF, CCS, and especially Qiana. It was memorable and fascinating.


GCD Comics Timeline


Roberto Raviola, best known as Magnus (30 or 31 May 1939 – 5 February 1996, Italy), was a non-conformist comics author, who is best known for his “fumetti neri” (comics noir). After working as an illustrator for a while, he started his comic career in 1964. He used the pseudonym Magnus, self-ironically derived from the Latin expression ‘Magnus Pictor Fecit’ (“A Great Painter Did It”). He teamed up with writer Luciano Secchi (Max Bunker), with whom he launched successful series like ‘Kriminal’ (1964-71), ‘Satanik’ (1964-70), ‘Dennis Cobb Agente Secrete SSO 18’ (1965-67) and ‘Alan Ford’ (1969-75, 1986) and ‘Gesebel’ (1966), published in pocket comics by Corno. The duo Magnus-Bunker additionally produced ‘Maxmagnus’ for Eureka magazine between 1968 and 1970.

Continue reading about Magnus at Lambiek Comiclopedia — https://www.lambiek.net/artists/m/magnus.htm

Explore items in the GCD with work by Magnus — http://ow.ly/YGmm300Htux

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Larry Marder (born 29 May 1951, USA) is a cartoonist and writer, best known as the creator of comic book Tales of the Beanworld, which began as an “essentially self-published title” in 1984.

Marder was educated at the Hartford Art School in Connecticut in the early 1970s, earning a BFA degree in 1973. He earned “his living as an art director in the high-pressure world of advertising” in Chicago from 1976, balancing his time in that profession with “a remarkable interior landscape of the imagination that coalesced into the vivid ecology of Beanworld.

Continue reading about Larry Marder at Wikipedia — https://en.wikipedia.org/wiki/Larry_Marder

Explore items in the GCD with work by Larry Marder — http://ow.ly/n3jK300GKKn

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Jack Kamen (29 May 1920 – 5 August 2008, USA) was born in Brooklyn, New York. He attended Art Students League and the Grand Central Art School, and took courses in sculpting from Agop Agopoff. He did his first comics work through the Harry Chesler shop, and later turned freelance, working for Fawcett and Harvey Comics, and the pulp titles by Better Publications. After his four years of military service, he joined Jerry Iger’s studio, where he worked on features like ‘Blue Beetle’, ‘Jo-Jo Congo King’, ‘Rulah’, ‘Brenda Starr’, the daily ‘Inspector Dayton’ strip, and several romance stories for Fox.

He joined EC Comics in 1950, and became was one of the company’s most prolific horror artists. He was a frequent contributor to Tales from the Crypt, The Haunt of Fear and Shock SuspenStories, but also to Crime SuspenStories and the Weird Science/Fantasy books. Kamen’s violent stories mainly dealt with infidelity or the battle of the sexes.

After the implementation of the Comics Code, he also drew for some of EC’s "New Direction" and "Picto-Fiction" titles, including all issues of ‘Psychoanalysis’, but he steadily moved into advertising art and illustration in the mid 1950s. Kamen did assignments from the largest corporations in the USA, but also worked with his son Dean Kamen in the medical supply and helicopter business.

From Lambiek Comiclopedia — https://www.lambiek.net/artists/k/kamen_jack.htm

Read about Jack Kamen at Wikipedia — https://en.wikipedia.org/wiki/Jack_Kamen

Explore items in the GCD with work by Jack Kamen — http://ow.ly/E1sE300GKqw

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Jim Salicrup (born 29 May 1957, USA) is a comic book editor, known for his tenures at Marvel Comics and Topps Comics. At Marvel, where he worked for twenty years, he edited books such as The Uncanny X-Men, Fantastic Four, Avengers and various Spider-Man titles. At Topps, he edited books such as Bram Stoker’s Dracula, X-Files and Zorro.

He has also worked at Stan Lee Media, and is now editor-in-chief at Papercutz, which publishes Nancy Drew, The Hardy Boys. He is also a trustee at the Museum of Comic and Cartoon Art.

Continue reading about Jim Salicrup at Wikipedia — https://en.wikipedia.org/wiki/Jim_Salicrup

Explore items in the GCD that were edited by Jim Salicrup — http://ow.ly/FwHz300GKbx

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Andrija Maurović (29 March 1901 – 2 September 1981, Croatia) is considered the father of Croatian and Yugoslav comics. Born in Muo near Kotor, Austria-Hungary (now Montenegro), he spent his childhood in Cracow, Poland and Dubrovnik. He broke off his studies at the Academy of Arts in Zagreb during the first year to become an independent illustrator for books, weekly and daily newspapers. For several years, he made caricatures for the satirical magazine Koprive, and he also produced artwork for Jutarnji list, Novosti, Zenski Svijet and Kulisa. He also made illustrations based on literary works and often worked in cooperation with prominent writers like Franjo Fuis.

Maurovic created his first comic in May 1935, 'Vjerenica Maca' ('Bride of the Sword'), which was published in Novesti, a Zagreb newspaper. That same year Maurovic co-launched Oko, the first Yugoslav comics magazine. Until 1968, he created nearly 150 stories for the magazine, including 'Stari Macak', 'Podzemma Carica' and 'Ljubavnica's Marsa'.

Continue reading about Andrija Maurović at Lambiek Comiclopedia — https://www.lambiek.net/artists/m/maurovic_a.htm

Read about Andrija Maurović at Wikipedia — https://en.wikipedia.org/wiki/Andrija_Maurovi%C4%87

(The image shown is from the Lambiek Comiclopedia page for Andrija Maurović.)

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Massimo De Vita (born 29 May 1941, Italy) Massimo De Vita was born in Milan as the son of the Italian Disney artist Pier Lorenzo De Vita. He followed his father’s footsteps in the Disney comics world, after working in the animation studios of the Pagot Brothers (‘Calimero’).

After a collaboration with the editorial staff of Topolino, Massimo De Vita drew his first Disney comics in the early 1960s. At first illustrating other writer’s stories, he soon took on the scenario work of his comics as well. He is the creator of ‘Il Professor Zapotec’, who appears in the Italian Disney stories. Massimo De Vita is the main artist on the ‘C’era una Volta... in America’, about ancestors of Mickey Mouse during important moments in American history.

Throughout the years, Massimo De Vita has established himself as one of the best Italian Disney artists.

From Lambiek Comiclopedia — https://www.lambiek.net/artists/d/de-vita_massimo.htm

Explore items in the GCD with work by Massimo De Vita — http://ow.ly/hwGA300GJyO

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Ryoichi Ikegami (born 29 May 1944, Japan) saw his first short comic published in the magazine Garo. This comic was noticed by Shigeru Mizuki, who took Ikegami as his assistant. He started his first series, a western trilogy, at age 24. Success came in 1973 when he took on the series ‘Aiueo Boy’, along with scenarist Kazuo Koike. Two of this series, both published by Shôgakukan, were introduced on the American market in 1987 and 1989: ‘Mai the Psychic Girl’ (with Kazuya Kudo) and ‘Crying Freeman’ (with Kazuo Koike).

This first series was one of the comics that started the success of manga in America, and the second was about the war of police and Japanese gangs against the Chinese mob. Other series that Ikegami made are ‘Otoko Ozorga’ (with Tetsu Kariya), ‘Sanctuary’, ‘Strain’ (with Sho Fumimura) and ‘Nobunaga’ (with Kazuya Kudo). Ikegami has additionally illustrated works like ‘Katsuotoko Boï’ (1991), ‘Oritsuin Kumomaru no Shogaï’ (1992), ‘Kyoko’ (1995-96), ‘Odyssey’ (from 1996), ‘Heat’ (from 1999) and ‘Ruygetsu-sho’ (from 2000).

From Lambiek Comiclopedia — https://www.lambiek.net/artists/i/ikegami_ryoichi.htm

Explore items in the GCD with work by Ryoichi Ikegami — http://ow.ly/XHiJ300GJpi

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Tom Moore (28 May 1928 – 20 July 2015, USA) was a comic book artist who had a longtime association with Archie Comics. He started out as a cartoonist while serving in the US Navy during the Korean War, creating the ‘Chick Call’ strip for military service publications. Back in civil life, he attended the Cartoonist and Illustrator School in New York and joined Archie Comics shortly afterwards, in 1953.

He drew one comic book a month until 1961, when he went to work in public relations. He made his comeback in the 1970s as an artist for ‘Snuffy Smith’, ‘Underdog’ and ‘Mighty Mouse’, before eventually returning to Archie. During this period, he was mostly working on the ‘Jughead’ character. He retired in the late 1980s, and subsequently taught at El Paso Community College. He passed away in his hometown El Paso, Texas, in July 2015, aged 86.

From Lambiek Comiclopedia — https://www.lambiek.net/artists/m/moore_tom.htm

Explore items in the GCD with work by Tom Moore — http://ow.ly/DtCX300FIY4

(The image shown is from the Lambiek Comiclopedia page for Tom Moore.)

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The Grand Comics Database Project (GCD) is a volunteer project with the goal of documenting and indexing all comics for the free use of scholars, historians, researchers, and fans.
The GCD acknowledges that the all-encompassing research nature of the project may result in the posting of cover scans for comics with images that some may find objectionable.
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Statistics
9,382 publishers
6,151 brands
4,956 indicia publishers
98,060 series
1,280,771 issues
56,229 variant issues
250,368 issue indexes
594,814 covers
1,704,052 stories