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The Grand Comics Database (GCD) 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 a try, or take a look at the menu to the left to see how you can help us improve the site.

The Grand Comics Database is only made possible through volunteers from around the world. From indexers to editors, programmers to website administrators, we are fans working together to create the most comprehensive comics database online. We are a growing global community with new registrations coming from North America and ‘the four corners of the earth’ — Brazil, Europe, India, and Australia!

Infographic #3 - 2016 Registrations

We made a couple of smaller changes to the site recently, these include
  • search results can be filtered by country and by language
  • the on-sale weekly list can be used to add issues to your my.comics.org-collection
  • using the advanced search you have more options for filtering by reprint(ed) status

GCD Comics Timeline

Eiwin Mark (born 27 February 1969, Canada?) was an editor on the Aircel comics line from its beginning in 1985 through the acquisition by Malibu Comics in 1988 and on through 1991. He also lettered most of the comics, as well as other titles at Malibu.

In the GCD — http://ow.ly/ZdDr309nVj1

(Patrick McEown penciled and Barry Blair inked the cover of “Samurai” #1, September 1985, which Mark edited and lettered)

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Andy Kubert (born 27 February 1962, USA) is a comics artist who graduated from The Kubert School, founded by his father Joe Kubert. He began his career in 1980, as a letterer at DC Comics, and by 1984 he was drawing stories.

He drew “Sgt. Rock” (1986–1987), a “Doc Savage” series written by Dennis O’Neil (1987–1988), and an “Adam Strange” series written by Richard Bruning (1990).
He drew the DC Comics / Dark Horse cross-over series “Batman Versus Predator” (1991–1992), written by Dave Gibbons.

Kubert was also publishing at Marvel from the mid-1980s. At the end of 1992, he became the regular artist on “X-Men” following the departure of Jim Lee to co-found Image Comics. His run on the title continued through 1996.

He is also known for work on “Captain America” (1998–2000) and “Marvel 1602” with writer Neil Gaiman (2003–2004).

He returned to DC in 2005 as the “Batman” penciler. He and writer Grant Morrison introduced Damian Wayne, the son of Batman, in 2006. He re-united with Neil Gaiman on ‘Whatever Happened to the Caped Crusader?’ (2009).

Among other work, Kubert has drawn “Flashpoint” (2011), “Before Watchmen: Nite Owl” (2012), and “Damian: Son of Batman” (2013–2014).

Joe Kubert (18 September 1926 – 12 August 2012), a popular and influential comics artist, was his father. Fellow comics artist Adam Kubert is his older brother. Comics editor Katie Kubert is his niece.

At Comiclopedia — https://www.lambiek.net/artists/k/kubert_andy.htm
At Wikipedia — https://en.wikipedia.org/wiki/Andy_Kubert
In the GCD — http://ow.ly/jsd3309nUPG

(Andy Kubert created the cover of “Earth 2: Society” #7, February 2016)

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Norm Breyfogle (born 27 February 1960, USA) has been an artist from an early age. He took art lessons at age 12 and was publishing comics and magazine illustration while in high school and university.

He made his industry debut through the DC Comics “New Talent Showcase” program in 1984. For the next few years he also published at First, Eclipse, and Marvel.

From 1987 to 1993, he collaborated with writer Alan Grant on the ‘Batman’ feature, in “Detective Comics”, then in “Batman”, then in “Batman: Shadow of the Bat”, which they launched in 1992.

The pair created such ‘Batman’ characters as the Ventriloquist and Jeremiah Arkham. In 1990, they introduced Tim Drake, who would become the third boy to wear the Robin uniform.

Breyfogle has continued to work on comics projects from “The Spectre” (DC, 2001), through “Life with Archie” (Archie, 2009–2010), to “Batman Beyond Unlimited” (DC, 2012–2013).

At Comiclopedia — https://www.lambiek.net/artists/b/breyfogle_norm.htm
At Wikipedia — https://en.wikipedia.org/wiki/Norm_Breyfogle
In the GCD — http://ow.ly/oU1V309nUIx

(Breyfogle created the cover art on “Life with Archie” #1, September 2010)

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Jeff Smith (born 27 February 1960, USA) is a comics creator who was first published in his university’s student newspaper.

He began his best-known work, “Bone”, in 1991. Published by his own Cartoon Books (except two years at Image), the comic series ran through 2004.

“Bone” is very popular, remaining in print in a both a multi-volume series of collections and a massive single-volume collection, and translated globally. It is recommended by teachers and librarians for middle-school readers.

There are two short series set in the same milieu — “Stupid, Stupid Rat Tails” (1998–2000) and “Rose” (2000–2002). The latter is drawn by Charles Vess.

Smith has received 10 Eisner Awards, 11 Harvey Awards, and 2 National Cartoonists Society Awards, almost all for “Bone”. In 1996 he received a Best Foreign Comic prize at Angoulême and the Swedish Adamson Award for the work.

He created “Shazam! The Monster Society of Evil” at DC Comics in 2007. That same year he became the designer for the Fantagraphics complete reprint of Walt Kelly’s “Pogo”.

From 2008 to 2012, he published his science-fiction series, “RASL”. He received an Eisner Award for it in 2014.

At Comiclopedia — https://www.lambiek.net/artists/s/smith.htm
At Wikipedia — https://en.wikipedia.org/wiki/Jeff_Smith_(cartoonist)
In the GCD — http://ow.ly/YL9hS

(Smith created the cover of “RASL” #1, March 2008)

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Dudley D. Watkins (27 February 1907 – 20 August 1969, UK) was a cartoonist and illustrator.

He is best known for his characters’ Oor Wullie’ and ‘The Broons’. Strips featuring them have appeared in Scottish newspaper “The Sunday Post” since 1936.

Watkins also illustrated for comics such as “The Beano”, “The Dandy”, “The Beezer”, and “Topper”, and provided illustrations for Christian stories.

At Comiclopedia — https://www.lambiek.net/artists/w/watkins_dudley.htm
At Wikipedia — https://en.wikipedia.org/wiki/Dudley_D._Watkins
In the GCD — http://ow.ly/rbB9309nUqF

(Watkins created the cover strip on “The Beano Comic” #360, 30 April 1949)

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Torchy Brown

Jackie Ormes's ( http://ow.ly/Pyxz309nOCP ) first comic strip, Torchy Brown in Dixie to Harlem, first appeared in the Pittsburgh Courier in 1937. In addition to the Courier, Torchy Brown was syndicated to fourteen other black newspapers. The strip, starring Torchy Brown, was a humorous depiction of a Mississippi teen who found fame and fortune singing and dancing in the Cotton Club. Torchy's journey from Mississippi to New York City mirrored the journey of many African-Americans who ventured northward during the Great Migration. It was through Torchy Brown that Ormes became the first African-American woman to produce a syndicated comic strip. The strip would run until 1940. The reason for the strip's abrupt end is uncertain, but it is presumed to be due to an end in her contract.

In 1950, the Courier began an eight-page color comics insert, where Ormes re-invented her Torchy character in a new comic strip, Torchy in Heartbeats. This Torchy was a beautiful, independent woman who finds adventure while seeking true love. Ormes expressed her talent for fashion design as well as her vision of a beautiful black female body in the accompanying Torchy Togs paper doll cut outs. The strip is probably best known for its last episode in 1954, when Torchy and her doctor boyfriend confront racism and environmental pollution. Ormes used Torchy in Heartbeats as a sounding board for several big issues of the time. In a 1985 interview for Chicago Reader she claimed she was " anti-war-I was anti-everything-that's-smelly". Torchy presented an image of a black woman who, in contrast to the contemporary stereotypical media portrayals, was confident, intelligent, and brave.

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Karen Berger (born 26 February 1958, USA) majored in English literature and art history at Brooklyn College. After graduating in 1979, she began her comics career as an assistant to editor Paul Levitz at DC.

By 1981 she was a full editor and one of her earliest responsibilities was the ‘Legion of Super-Heroes’ feature, which she shepherded through multiples titles from 1982 to 1989. She also edited ‘Amethyst, Princess of Gemworld’ from 1983 to 1989.

More interested in horror comics, she took over the editing of “The Saga of Swamp Thing” from co-creator Len Wein in 1984 and nurtured the feature with Alan Moore and beyond, through 1990.

She brought Neil Gaiman to “The Sandman” and his work to a mass audience.
Following on Berger’s success with titles such as these, which allowed creators to craft more textured and subtle stories, she launched the Vertigo imprint in 1993. She edited at Vertigo and in the DC Universe titles through 2013.

Among the well-known, critically-acclaimed series that she published at Vertigo are “Fables”, “Hellblazer”, “The Invisibles”, “100 Bullets”, “Preacher”, “V for Vendetta”, and “Y: The Last Man”.

Berger recently edited “Surgeon X” at Image (2016–2017).

At Women in Comics — http://womenincomics.wikia.com/wiki/Karen_Berger
At Wikipedia — https://en.wikipedia.org/wiki/Karen_Berger
In the GCD — http://ow.ly/Ah07309mEUv

(Keith Giffen penciled and Larry Mahlstedt inked the cover of “The Legion of Super-Heroes” #294, December 1982, the first issue edited by Berger)

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Ric Estrada (26 February 1928 – 1 May 2009, USA) was born in Havana and made his first professional sale at age 13.

He moved to New York City in 1947 to attend art school, where he met fellow artists such as Frank Frazetta, Mort Meskin, and Pete Morisi.

His professional career began in the early 1950s, primarily at St. John but also at EC Comics, Prize, and others.

Estrada began working at DC Comics in the mid-1960s, where he remained for thirty years, with only occasional work at other publishers.

He drew in many genres during his career and said he enjoyed the war stories most. He drew a couple of stories for EC in 1952 and 1953, and worked on stories at DC from “Our Army At War” (1955–1977) to “Weird War Tales” (1975–1983).

He produced many western and romance stories, as well. His super-hero work included “Karate Kid” and “Superboy & the Legion of Super-Heroes” (1976–1977). He was the initial artist on “Amethyst, Princess of Gemworld” (1985).

In 1974, Estrada created a story in “G.I. Combat” based on a passage in his scripture, the “Book of Mormon”. This led to the church hiring him to illustrate its “New Testament Stories for Children” (1980).

He occasionally drew the ‘Flash Gordon’ syndicated strip from the 1950s to the 1970s.

From the mid-1980s to the end of the century, he worked in animation. He is known for “Bionic Six” (1987), “The Smurfs” (1981), and “Tom & Jerry Kids Show” (1990).

At Comiclopedia — https://www.lambiek.net/artists/e/estrada_ric.htm
At Wikipedia — https://en.wikipedia.org/wiki/Ric_Estrada
In the GCD — http://ow.ly/YJ8Qy
In the IMDb — www.imdb.com/name/nm1184829/

(Estrada penciled and Jack Abel inked the cover art on “Superboy” #2/1979, which is from the story in “Superboy & the Legion of Super-Heroes” #232, October 1977, which itself is translated in this Norwegian reprint)

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Rudolph Dirks (26 February 1877 – 20 April 1968, USA), one of the earliest newspaper strip creators, was born in Germany and his family emigrated to Chicago in 1884.

Working at William Randolph Hearst’s “New York Journal” in 1987, he was asked to adapt Wilhelm Busch’s darkly comedic “Max und Moritz” (Germany, 1865) and came up with ‘The Katzenjammer Kids’, which debuted on 12 December 1897.

In addition to the stories and the art, the strip is known for its early use of such tropes as speech drawn in balloons, ‘speed lines’ showing motion, ‘seeing stars’ showing pain, and ‘sawing wood’ showing sleep.

Dirks left the strip after a legal conflict that lasted from 1912 to 1914. He was replaced by Harold Knerr, who continued with it until his death in 1949. It is the longest-running strip still in syndication.

Dirks exercised his right to create a duplicate strip with a different name. ‘Hans und Fritz’, soon changed to ‘The Captain and the Kids’, debuted in Pulitzer papers and continued in syndication until 1979.

From the late 1930s through the 1950s, the ‘Captain’ strip was reprinted in comics published by its syndicate, United Features, primarily in “Tip Top Comics”.

At Comiclopedia — https://www.lambiek.net/artists/d/dirks_r.htm
At Wikipedia — http://en.wikipedia.org/wiki/Rudolph_Dirks
In the GCD — http://ow.ly/hHtA309mEFN

(Dirks created the cover art on “Okay Comics” #1, July 1940)

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Wee Pals ( http://ow.ly/r0Pz309kN2F)

Wee Pals is a syndicated comic strip about a diverse group of children, created and produced by Morrie Turner. It was the first comic strip syndicated in the United States to have a cast of diverse ethnicity, dubbed the "Rainbow Gang."

When cartoonist Morrie Turner began questioning why there were no minorities in the comic strips, his mentor, Peanuts cartoonist Charles M. Schulz, suggested he create one. Morris' first attempt, Dinky Fellas, featured an all-black cast, but found publication in only one newspaper, the Chicago Defender. Turner integrated the strip, renaming it Wee Pals, and on February 15, 1965, it became the first American syndicated comic strip to have a cast of diverse ethnicity.

Initially syndicated by Lew Little Enterprises, it was then carried by the Register and Tribune Syndicate, before moving to United Feature Syndicate in the 1970s. When it debuted, the strip originally appeared in only five daily newspapers, as many papers refused to run a strip featuring black characters. After the assassination of Martin Luther King, Jr., the number of papers carrying the strip grew either to 60 or to more than 100 dailies (sources differ).

As the comic strip's popularity grew, Turner added characters. He included children of more and more ethnicities, as well as a child with a physical disability. He also added a weekly section called "Soul Corner," which profiled notable African Americans from history.

excerpted from http://ow.ly/uScQ309kMTX

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There are several ways in which you can help us to improve our site and its content.

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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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The Grand Comics Database Team
Comics Calendar
10,198 publishers
6,535 brands
5,300 indicia publishers
107,248 series
1,357,747 issues
69,086 variant issues
273,685 issue indexes
658,238 covers
1,919,532 stories